Deftones, even at their best, have been a band of dichotomies. That is what makes them a special band in the history of heavy music: opposing forces pulling and pushing them apart and back again. They may have been coming apart at the seams in the run-up to making Diamond Eyes (Reprise), and you couldn’t blame them. If you follow the band closely, you know the history. The band was nearly done tracking their highly anticipated album Eros in the fall of 2008, when founding bassist Chi Cheng was in a car wreck, on his way home from a funeral. Chi was left in a vegetative state, and the band was in shock. As Chi fought for his life (he passed in 2013, RIP), the band was left wondering what to do. They wanted to make music, but the experience with their best friend caused them to shelve Eros, never to be heard (almost never). When they came back together, the results were unexpected and wild. Continue reading
Deftones performed at the annual Meltdown Festival in London, England yesterday. This year’s edition of the festival was curated by The Cure‘s Robert Smith and the band Bromwich out a special cover and some older tracks they haven’t performed in over a decade. Watch fan-filmed footage of the the band performing The Cure‘s ‘If Only We Could Sleep’ and their own deep but ‘Battle Axe’, last played live in 2007. They also played their classic ‘Birthmark’ track, for the first time in three years. Also below, a promo video by Chino Moreno for the festival.
I think I finally found an instance when it’s cool to use the term avant-garde. If any band falls under that most radical of musical distinctions it’s probably going to be Tombs with their fourth full-length, The Grand Annihilation (Metal Blade). I suppose Atheist or Candiria could be filed under avant-garde as well, but that’s a discussion I don’t want to find myself in, particularly with the metal élite. Continue reading
With their long awaited follow up to 2010’s Mercy (Good Fight Music), Earth (Magic Bullet Records) puts Sweet Cobra back in the spotlight and in front of me for the first time. The internet told me they were “post-hardcore.” What does that mean? I don’t speak English so I have no idea, let’s find out!
‘Future Ghosts’ wound up catching my attention more than the opening track, ‘Far Too Temp.’ This song is more consistently upbeat and easy to start headbanging and stomping around to. It’s there to grab you and make you listen and move. I anticipate this track being included in their set list specifically for this purpose.
‘Complaints’ is on the shorter side and reminds me of 80’s pop/rock songs with its keyboards. Even Botchy Vasquez’s voice sounds like a slightly rougher, more masculine Robert Smith in this piece. Maybe this is what The Cure would sound like if they were a touch heavier. Compared to the rest of the album, it’s a bit odd which makes it stand out and is exactly why I enjoy it.
The opening drums for ‘Jealous of Drugs’ remind me of a far less intense version of Mastodon’s ‘Crystal Skull’. This track starts off slow and starts to pick up a bit about two minutes in where it turns into some catchy rock and roll. While it never comes close to reaching the heaviness referenced previously, there is still something beautiful about it.
Earth is a fun album overall although I would have liked it to be a bit more cohesive. Things are kind of all over the place in the sense that you could pick out almost any track and have it stand on its own. That says a lot about the quality of the music, however, I always look for some kind of flow as an album plays, save for the intro to nearly every song being very similar, and that didn’t seem as strong as it could have been in this release.
ALEIDA LA LLAVE