Deftones

All posts tagged Deftones

By Rick Polo (Editor-in-Chief)

By the late 90s, the promising musical landscape that was “Alternative Rock” took a dramatic turn into strange, unsettling territory. And there was none more unsettling than that of Nu Metal.

This hybrid genre, comprised of post-Thrash groove metal, alternative rock and rap/hip-hop, left a very bad taste in the mouth of 90s alternative audiences. The decade that saw the rise and mainstream success of acts as influential and diverse as Jane’s Addiction, Red Hot Chili Peppers, Soundgarden, Pearl Jam, Nine Inch Nails, Kyuss, Smashing Pumpkins and Nirvana to name a few, fizzled out into an instantly nostalgic radio-rock wasteland.

Enter Nu Metal: A bastardized version of alternative metal which filled the gap between Electronica and third generation post-grunge.

Looking back, rock music was almost just as much an integral part of rap and hip-hop at its inception as anything else. DJs lifted just as many samples from 70s hard rock as they did from funk and soul. The idea of a slick, repetitive guitar riff under and funky beat was undeniably infectious, as proven on Run DMC’s rendition of Aerosmith’s “Walk This Way:” The first major hybrid hit. Also, in the late 70s, punk and hip-hop were akin to one another, speaking socio-political truths to disenfranchised youth.

By the early 90s alternative scene, acts like Faith No More and Rage Against the Machine had emerged. With their aggressive heavy metal guitar overtop deep grooves and rap-like vocals, new audiences flocked. With the former taking it to experimental and avant-garde territories and the latter taking on a punk rock-esque political platform, the musical marriage undeniably made sense. By the mid-90s, angst-driven metal-ish acts like KoRn, Deftones and Limp Bizkit ushered in and solidified the sound of Nu Metal, taking the groove and hip-hop influence even further, with downtuned, bass-like riffs, screamed/growled vocals and later introduced a Turntable-spinning DJ as a predominant instrumentalist.

In its humble beginnings, the genre seemed just as promising as any of Lollapalooza-era offshoots. However, by the time of its peak mainstream accessibility, it failed to capture the admiration of either heavy metal or rap audiences. It instead found it’s niche in (predominantly) white suburban teen angst. The fashion choices of this scene are perhaps cringe-worthy enough (baggy clothes, overly-abundant accessories, poorly spiked hair), but what about the music itself? Here is a look at some of the best and worst the Nu Metal scene had to offer…

 

THE BEST

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IncubusMake Yourself 1999

Of all the acts from this scene, Incubus may have been the most musically diverse, and certainly had the best vocalist; Brandon Boyd. The album features signature scratching and rapped vocals, however, they are used sparingly and actually add quite a bit of flavor in contrast to Boyd’s impressive vocal range. Lyrically, the album isn’t as angst-y as most of its contemporaries either, and instead takes turns into the philosophical and ethereal. The album as a whole has more in common with post-grunge than KoRn. One could argue that if the scratches and raps weren’t present, it’d work as a decent Stone Temple Pilots record. The band would eventually abandon the signature Nu Metal sounds all together on future releases and explore more alt-rock territory on later releases.  Overall, Make Yourself holds up rather well almost two decades later.

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SlipknotSlipknot 1999

Perhaps the most aggressive and extreme of their contemporaries, Slipknot drove deeper and darker than your average teen angst Nu Metal act. The fact that they wore unique masks and dressed in post-dystopian-like jumpsuits worked as both a gimmick and the most initially intriguing aspect of the band. The music was ugly, and sounded just a bit more demented than the rest of the crop. Slipknot incorporated elements of Industrial, Thrash and Death Metal, along with distorted turntables, horror film samples and hard-edge rapped vocals (possible influence on Tech N9ne?). Their chugging guitars were not far off from those of Ministry. They would eventually go darker and heavier on their follow-up Iowa, before teaming with Rick Rubin for  more crossover appeal on 2004’s Vol. 3: The Subliminal Verses. Still, their debut stands out like a severed head in a period of mostly dormant heavy metal.

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SepulturaRoots 1996

Is it fair to label Sepultura a Nu Metal band? Absolutely not. The Brazilian quartet took Thrash metal into exciting new places in the early 90s with albums like Chaos A.D., and also made a name for themselves as an early Death Metal act in the late 80s. So what happened? Finding influence in their native Brazilian and African percussion-heavy “roots,” and looking to emerging acts like KoRn and Deftones, they teamed with producer Ross Robinson for something new and heavy. Robinson’s signature sound saw the band eliminating almost all high-end from their guitar sound, trading leads and guitar solos for low, downtuned riffage. For what it was, and when it was, its the perfect marriage of old and new school heavy metal. Both new and old fans embraced this momentary direction. Frontman Mx Cavalera would eventually abandon Sepultura entirely to go in a complete Nu Metal direction with his next, and currently still-running band, Soulfly.

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KoRn KoRn 1994

It’s almost hard to believe this album came out at a time when Nirvana, Soundgarden and Smashing Pumpkins were dominating the rock landscape. The sound was at least three or four years ahead of its time, and no one sounded like KoRn before KoRn. Their decision to utilize (then-cutting edge) seven-string guitars and tune them a whole step lower, was something unheard of even in the deepest corners of extreme metal. Their riffs steered far away from traditional heavy metal by sounding more percussive, with all instruments locked into a tight, heavy groove. In ’94, Death Metal was still a very underground phenomenon, and this was the heaviest thing to alt-rock audiences since Pantera. As a result, it spawned a new approach to metal which would come to the forefront in the late 90s and early 00s.

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DeftonesAround the Fur 1997

With their sophomore release, Deftones took the rough edges of their debut, 1995’s , smoothed out some, and sharpened others. The vocals, although still mostly screamed, had just enough accessibility to lift the song to higher levels when needed, without losing any edge. The riffs were still very grove-heavy, but stronger. The main difference between Around the Fur and Adrenaline was that the band learned when to hold back before exploding, giving these tracks a truly powerful impact. There are hints, albeit few and far between, of the Post-Punk and Shoegaze avenues the band would eventually take. However, Around the Fur is probably the most artistic record of the Nu Metal era.

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System of a DownToxicity 2001

Toxictiy was undobtedly a powerful nail in the coffin of Nu Metal. Sure, the band played low-tuned groove-riffs with the occasional growled vocal. But of any of their contemporaries, System of a Down took note from the genre’s most high-profile inspirations; Faith No More and Rage Against the Machine. The spastic outbursts and odd time signatures clearly harkens back to the best days of Faith No More and Mr. Bungle, while their socio-political overtone is of the strongest since the heyday of Rage. The middle-eastern influences and overall quirkiness also set the band light years apart. Toxicity is often referred to as an essential metal record.

Honorable Mentions:

Soulfly – Soulfly

KoRn – Follow the Leader

Stuck Mojo – Stuck Mojo

System of a Down – System of a Down

 

THE WORST

Korn_-_Take_a_Look_in_the_Mirror

KoRnTake A Look In the Mirror 2003

By 2003, KoRn were basically the lone survivors, smoldering in the rubble of Nu Metal. And they weren’t in the best of shape either. After failing to find a groove or produce anything new or interesting for several years, Take A Look In the Mirror sounded like a tired reflection of the innovative sound the band became known for, only worse. The lyrics are angry for the sake of being angry, and cheesy to the point of no return. The riffs sound like uninspired rehashes of earlier work. The inclusion of rapper Nas on a track sounds like a failed attempt to recapture the magic of earlier collaborations with Ice Cube. Although the band would try their hand at more electronic and Industrial sounds on future releases to mixed results, this album will forever serve as a glimpse at the end of an era.

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EvanescenceFallen 2003

Evanescence attempted to trick many a young pre-teen and teen girl that their generic, commercial brand of post-grunge Nu Metal was hip and Goth. Shame on them! Although singer Amy Lee has an impressive vocal range, the overuse her high-pitched soprano overtop cheesy, formulaic riffs doesn’t do much other than tire the listener. The fact that Fallen saw much mainstream success at the beginning of the decline of the music industry is also a testament of what the record industry was pushing on the masses during its last breaths. The band declined after this release.

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Papa RoachInfest 2000

Not sure what’s worse: The fact that Papa Roach rose to fame with generic rap-rock anthems of angst at the height of the genre’s reign or that they morphed into some awkward cock rock band who still saw success after its demise. One thing is for sure: The undeniable irony. And it makes perfect sense. Infest was as whiny, angst-y, and lyrically idiotic as it got in terms of frat boy Nu Metal. With the rise of bands like Limp Bizkit, Nu Metal saw success in pop territory, and Papa Roach did well to exploit that. And, unfortunately, they still do.

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Linkin ParkHybrid Theory 2000

By the time of Linkin Park’s debut, Nu Metal was down to a science. Find a group of angry suburbanites who lived through the grunge years, were exposed to punk and Industrial but never quite got it, and who had a deep appreciation for aggro-Gangsta Rap and BAM! You have a successful Nu Metal band. Linkin Park did little, if nothing, to further the genre. Instead embodied literally all of its tacky cliches. Hybrid Theory, a massively successful record, serves as their crowning achievement. And understandably, as it represents this genre at its mainstream peak. It was possibly the biggest crossover hit, having just enough edge (in terms of Nu Metal) for the hardcore fans but enough fluff for rock and pop radio. Linkin Park would go on to attempt Electronica and more traditional radio-friendly alt-rock to moderate success, however the scars of Hybrid Theory are too deep not to notice.

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Limp BizkitChocolate Starfish and the Hot Dog Flavored Water 2000

Initially, Limp Bizkit seemed like a silly joke. Kind of a far-inferior version of Primus; wrought with redneck humor, but overall lacking in artistic integrity. And it was okay. They sounded like douchey frat boys and they owned it. Take into consideration some stellar musicianship, especially from guitarist Wes Borland and bassist Sam Rivers, LB might not seem so bad. It wasn’t until their third album, 2000’s Chocolate Starfish and the Hot Dog Flavored Water, that the real moronic nature of vocalist Fred Durst hit it’s all time high, or low. With jabs at pop starlets, alt-rock titans like Trent Reznor, and whoever else he didn’t like, Durst put it all on tape, ultimately embarrassing only himself. Musically, it sucks. That’s about it. Lyrically, your dog’s farts might be more profound. There are no redeeming factors here (Sorry Wes). You’re best off to just move along.

Dishonorable Mentions:

Flaw – Through the Eyes

Limp Bizkit – Results May Vary

Papa Roach – LoveHateTragedy

Dope – No Regrets

Adema – Adema

 

(Crosses) †††, Chino Moreno and Shaun Lopez. Photo courtesy of www.altpress.com.

(Crosses) †††, Chino Moreno and Shaun Lopez. Photo courtesy of www.altpress.com.

By Rick Polo (Editor-in-Chief)

For many Deftones fans, frontman Chino Moreno can do no wrong. He has one of the most recognizable and hypnotic voices in alternative rock/metal next to Maynard James Keenan, and has fronted the aforementioned genre-spanning, multiplatinum act for the last two and a half decades He’s also dipped his hand into a number of interesting work outside of the band over the years. Interesting to say the least…

Aside from dozens of guest appearances, Moreno has fronted three acts other than the Deftones. In 2005, he formed the dream pop outfit Team Sleep, embracing his love for The Cure and post-punk. However, it’s been in recent years last we’ve seen Moreno at his busiest. After release the successful Koi No Yokan with Deftones in 2012 and performing with the supergroup Palms just last year (see past reviews), Moreno now takes a step into electronica and “witch house” with his new project, ††† (Crosses).

Formed with childhood friend and Far guitarist Shaun Lopez and milti-instumentalist Check Doom and drummer Chris Robyn, ††† released their self-titled debut record via Sumerian Records in February. The record itself have received mixed reviews, but an explosive performance on Jimmy Kimmel Live! and a healthy buzz among underground rock fans have garnered the band some serious attention.

One thing Moreno has yet to do is repeat himself. ††† dabble into the Witch House genre, a style coined over the last several years that employs elements of dark ambient, electronic, industrial, experimental hip-hop and noise. While the clash of sonic textures are present, most of the tracks on ††† are more pop-structured, albeit experimental, which isn’t typical of Witch House. They sound similar in ways to new Nine Inch Nails music, and none of the tracks exceed four and a half minutes, leaving them easy to digest individually.

The tracklist does however flow into itself on ††† and the music feels like one long piece, a trademark of Witch House. It kicks off with “This Is A Trick,” featuring Loaded frontman and former Guns N’ Roses member Duff McKagan on bass. Songs like “Telepathy,” “Bitches Brew” and “Nineteen Ninety Four” clearly establish the sound on †††, with slamming and brutal bass riffs and a thick atmospheric heaviness. Other tracks like “The Epilogue,” “Frontiers” and “Option” provide a more eerie vibe, and sound a bit more in tune with something Mike Patton would conjure up. Overall, the album flows seamlessly and is best listened to in it’s entirety or at least in chunks.

††† and Deftones have little in common other than Moreno’s voice and signature dramatic song writing. They create a heaviness out of glitched samples and wailed noise, whereas the Deftones utilize heavy down-tuned riffs for their space rock atmosphere. Still, fans will most likely embrace ††† for most of the same reasons; it’s deep, brutal and it simply rocks! One can play White Pony and ††† back to back, and still feel most of the same sensations. Overall, another win for Moreno.

Check out their official music video for “Bitches Brew” and explosive performance of “The Epilogue” from Jimmy Kimmel Live!