Moreno recently described Carpenter as the "odd man out" while the band recorded its eighth studio album, although he added that it "wasn't our intention to exclude him."Ĭarpenter admitted previously that he initially didn't want to work on the record, saying: "All the songs were all a challenge for me to get into. No one's tiptoeing around anybody else, and that's why it's not the easiest thing sometimes to make records, but when they're done, everybody can stand behind it, because everybody spoke up." There's three other guys, and everybody has an opinion, 'cause everybody's outspoken, and we're not scared to say shit to each other. And it's not as black-and-white as just, 'I like this. As much as we all love each other and whatever, we're all different people. Because we don't go in with any preconceived idea of what we're trying to do. We still don't really have… I feel like that's what makes it original, in a way that's why it is just DEFTONES. In '88, we were in a garage, or wherever, and back then, we were stoked that we were in a band together, but we didn't… For one, we didn't know what we were doing. But we've been friends since we were little kids. You can now watch the chat below.Īsked about rumors of internal strife within DEFTONES after guitarist Stephen Carpenter made comments in which he expressed being unhappy with the direction of the group's new album, "Gore", Moreno said: "It makes for a story, that there's all this tension.
THE DEFTONES ALBUMS DOWNLOAD
Gore is a triumphant reminder of the band's ever-evolving sound and their continuing ability to push the boundaries of metal.DEFTONES frontman Chino Moreno was interviewed by Kerrang! Radio at this year's edition of the Download festival, which was held June 10-12 at Donington Park in Leicestershire, United Kingdom.
This album may mark the band's 20-year anniversary, but Deftones refuse to rest on legacy status. This might be the prettiest song in the Deftones catalog, as Moreno's yearning voice soars above the sonic waves before a Cantrell solo sails in to meld perfectly with the band. The core of the album does fine work progressing Deftones' sound, with a trio of highlights that kick off with the hypnotic, spacious "Hearts/Wires," carries through the cyclone of "Pittura Infamante," and closes with the enthralling "Xenon." However, the centerpiece of the album appears on the penultimate track, "Phantom Bride," which features Alice in Chains' Jerry Cantrell on guitar. Effects man Frank Delgado buffers everything with clever sonic touches - experimental traces of mood that haven't been this exciting since 1999's groundbreaking White Pony - like on the hazy swirl of the aptly named "Acid Hologram" and the uncomfortably tense "Geometric Headdress." The juxtapositions that the band toys with are well executed on the ominously sexy "(L)MIRL", a dangerous invitation that could be a prequel to what transpires on White Pony's "Passenger." While it starts off comforting, the anxiety is amped up before its dark, walloping end. Both of these songs also house some unexpected Judas Priest/ Iron Maiden '80s metal riffs by Carpenter, which intensify the sense of reinvigoration within the band. Vocalist Chino Moreno's screech - both gorgeous and demonic - crashes in as he howls about a "godless demon" and the "force divine." His banshee wail remains in fine form, sending shivers down the spine on the battering "Doomed User" and the feral title track. Those varied trademarks are reintroduced on the sprawling first single, "Prayers/Triangles," which vacillates between the slinking rhythms of guitarist Stephen Carpenter and bassist Sergio Vega, and the pounding heart of drummer Abe Cunningham. Produced by Matt Hyde - who also worked on 2012's Koi No Yokan - Gore provides enough moments of pummeling savagery to balance the fragility that the band can often tease. They've hit another career peak with Gore, marked by some new directions and layered atmospherics that explore the different shades between the extremes. By combining brutality with beauty, the Californian quintet elicits deep vulnerability, all while assaulting the senses. This dichotomy has been central to the Deftones ethos since their start. Yet considering the cover art - which shows a flamboyance of pretty pink flamingoes flying against a grey-blue sky - thoughts of pure violence are subverted. As the title Gore suggests, the contents within are bloody and visceral.