ALBUM REVIEW: Deftones –  Ohms

“Deftones 2020” would be quite the fitting campaign slogan this year.  Faced with frightening realities, unexpected downs, and challenging changes, Deftones have swooped in to provide a sonic escape and maybe even a ray of hope in a time that has been plagued by a series of unfortunate events. Though President Chino Moreno may seem like a stretch (for now), Deftones have spun these unforeseen circumstances and unprecedented experiences into something fans can hold onto during this period of struggle: the highly-anticipated LP, Ohms, due out September 25th (Warner Records).  2020 is also a hallmark year in the Sacramento-born band’s career, as they celebrate 25 years since dropping their searing debut Adrenaline, 20 years since releasing their incomparable album White Pony, 10 years since unveiling their emotive and piercing record Diamond Eyes, and one presidential term since gracing fans with their eighth studio album Gore. Now, vocalist Chino Moreno, guitarist Stephen Carpenter, drummer Abe Cunningham, programmer Frank Delgado, and bassist Sergio Vega welcome Ohms,  10 tracks of heavy and reflective material that mirror the emotional distress of the pandemic and lockdown, the political power struggle that the world is witnessing, and the internal conflicts many are facing. Continue reading

Pantera’s 20th Anniversary Version of “Reinventing The Steel” Details Unveiled

When Pantera’s album Reinventing The Steel (Elektra Records) was released on March 21st, 2000, no one at the time thought it would be the final album from the band that dominated the metal sphere in the 1990s. But with the break up of the band and the murder of Dimebag Darrell Abbott in 2004, it proved to be their final transmission. Previously announced via Rhino Records, the album is getting a new release with two new versions, featuring an unreleased mix by producer Terry Date. The band has released three songs with the new mix, 30 and will also be available through digital and streaming services. Three of Date’s new mixes “Revolution Is My Name”, “Death Rattle”, and “We’ll Grind That Axe For A Long Time’  you can hear right now. These tracks, from the CD version will be released on October 30th.  Also coming early next year, “Reinventing The Steel: 20th Anniversary Edition” will also be released as a double-LP set on silver vinyl that features the new Terry Date mix on one album, plus eight rare bonus tracks making their vinyl debut on the other. Limited to 5,000 copies, the 180-gram audiophile vinyl collection comes in an embossed, foil jacket and will be available on January 8th 2021. 

Continue reading

Deftones’ Career-Defining Album “White Pony” Turns 20

Success has a way of messing with a good band. First world problems compared to the millions of bands that never make it, sure. However, so often when an emerging band that has fast become a genre leader, big corporate record labels can foul up the flow. This was almost the case of White Pony by Deftones, and the case where the hype was lived up to by pencil pushers, bean counters, and greed almost wrecked the game. White Pony is the band’s pivotal third album, where they built off the stylistic changes that came in with Around The Fur (Maverick) and pushed their sound further than before. In the process, they severed themselves far from the Nu-Metal wave that was exploding at the time and firmly created a new camp of “Deftones Music” as a category. That is, until, the label got in their business later on. Continue reading

CLASSIC ALBUMS REVISITED: White Zombie – “Astro Creep: 2000” Turns 25

For many, the nineties would prove to be the end of heavy metal as we knew it. Bands who rose to greatness in the preceding decade suddenly found themselves either retreading old ground, out of their depth trying to explore new territories, or simply grinding to an unceremonious halt. Within just a couple of years, denim, leather and even the term “heavy metal” itself, were out. Continue reading

Prong Releases New Single – “End of Sanity”

Prong has shared a new single, ”End of Sanity”. Recordeed with producer Chris Collier (No Absolutes, Zero Days) the recording is one of two tracks for a new EP, to be released in the fall. The songs were mixed by Terry Date (Cleansing, Rude Awakening). Prrong recently wrapped the “Cleansing” 25th-anniversary tour in Europe, and a tour with Agnostic Front.  Continue reading

Prong To Release New EP This Fall

Prong is hard at work this month in the studio with producer Chris Collier (No Absolutes, Zero Days) recording two tracks for a new EP, to be released in the fall. The songs will be mixed by Terry Date (Cleansing, Rude Awakening). Next month, the “Cleansing” 25th-anniversary tour hits Europe, where Prong will play festivals as well as play intimate club shows in select cities. Then the band will hit the road with Agnostic Front.  Continue reading

Pantera’s “Far Beyond Driven” Turns 25 Years Old

It’s the mid-nineties and while the economy is flourishing, our president gets cool points for playing the sax on television and we have Super Metroid, we still found the need to complain. And of all the things to moan about during that decade, one of the silliest is to decry the lack of decent metal. Did we all suddenly forget that Pantera dropped possibly the heaviest release to debut atop the Billboard Top 200 in Far Beyond Driven (Eastwest)? Continue reading

Hear A New Code Orange Remix By Terry Date

Terry Date, the uber-producer who famously worked with Pantera, Soundgarden, and Deftones in the 1990s, has done a track remix for Code Orange. Listen to his remix of ‘Bleeding In The Blur’, which premiered yesterday on BBC Radio 1sRock Show With Daniel P Carter‘. Continue reading

Deftones’ Around The Fur Turns 20 Years Old


Get in your way-back machine and set the dials for 1997. People back then had big 1990s optimism and even bigger pants (JNCOs). James Cameron’s Titanic was dominating the box office, and sadly two iconic women, Mother Teresa and Princess Diana died. Scotland cloned a sheep named Dolly, and the first of the Harry Potter novels was published. And a band from Sacramento, CA put out their second album. Of course, we mean Deftones and Around The Fur (Maverick). Not just any sophomore effort, the album would be a stylistic left turn for the band that was on the forefront of Nu Metal just a few years earlier. A classification the band would come to shun and remove themselves from over future releases. Continue reading

Slayer – Repentless

slayer repentess album cover 2015

With the possible exception of Iron Maiden and Faith No More, no album has been more debated by fans and the critics before a note had been heard in 2015, than Slayer’s new album Repentless (Nuclear Blast). Their historical position as a leader and a lightning rod for all of heavy music has had varying consequences to their reputation over time. Nearly oblivious to change with the exception of a couple of albums, Slayer does what Slayer wants to do. Similar to AC/DC or Motörhead, if every fan everywhere and every critic bashed this album to death sight unseen, the band might hardly notice anyway.

However, listening to Repentless in full, there is an undeniable void heard on the album, one the band makes no apology or concession to, the loss of Jeff Hanneman, Jeff is not replaceable, nor have they tried to do that honestly. Recall there were entire albums where Jeff barely had any songs or solos, but he is so clearly part of the soul of this band, his licks and style coded into the very DNA of their songcraft. At the same time, this album belongs to Kerry King and Tom Araya to the fullest, and they totally own it like their life depends on it. The future of Slayer’s career surely does.

Opening with the sinister intro track ‘Delusions of Saviour,’ I look forward to hearing many a future concert begin with this gem. The title track comes next and it is fiery in tempo and anger. It is definitely off to an inspiring start. ‘Take Control,’ another recent single is a little more straight-ahead thrash, though it has all the familiar bells and whistles you want from them. Araya sounds as frightening and strong as ever vocally. His delivery makes up a lot of the strength of this album.

Slayer, photo by Andrew Stuart

Slayer, photo by Andrew Stuart

‘Vices’ is a terrific, groovy track and reminds me a lot of Paul Bostaph’s work on Divine Intervention (American). Paul’s return is a solid one. He has a few highlights and the outro of the track is one of them. The dueling harmonized guitars and solo parts bear the proper Slayer mark. ‘Cast the First Stone’ and ‘When The Stillness Comes’ also makes up some of the meat of familiar part of the album. ‘…Stillness’ has the Seasons In The Abyss (Def American) vibe that will drive some purists away, while others will love it. I fall into the latter category.

 

‘Chasing Death’ has them treading on some Exodus or even Pantera territory jamming out on the power grooves they pioneered. Another killer delivery from Tom sells this badass tune. ‘Implode’ was to my ears, the least impressive track and repeat listens didn’t make it grow on me. ‘Implode’ is one of the few tracks where it does seem to lack some of the old (Black) magic of the band. ‘Piano Wire’ is lone Hanneman composition on the album and it is definitely one of the best. I’d like to think Jeff would approve. ‘Atrocity Vendor’, at least in its first few measures sounds like it could have come off of ‘Haunting The Chapel’. That intro is so old-school, it might shock you. Kudos for doing something more akin to something Overkill or Anthrax would try. More great lyrics on this track and some more killer lead work as well.

‘You Against You’ is a nod to more recent albums from the band. The mid-tempo seems to be where this album lives mostly, so when it kicks into overdrive it definitely perks your ears up. It is the most “Jeff” sounding track on the album. ‘Pride And Prejudice’ ends the album on a heavy note with a screed on the current state of the world and a dim view for the future.

Armed with 12 new ditties toasting humanity’s self-destruction, the new Slayer album is a complex one. That they have made a complete album in 2015, should surprise none. Whether it lands in the pantheon of their greatest works, I’m not so sure about that one. Things that hold the album back from greatness are the differing styles of producers Greg Fieldman and Terry Date, the choppy mixing, and perhaps a lack of the uniqueness where a lot of the songs just sound like tributes to their past. Perhaps next time Gary Holt can chime in and co-write some tracks too. Overall Repentless is an enjoyable, fierce album that sounds essentially like a Slayer album should.

8 / 10

KEITH CHACHKES