With their 1995 debut, 'Adrenaline,' approaching its 30th anniversary this year, the Sacramento quartet continues to explore and expand their sound. Having distanced themselves from the nu metal label that never quite fit them, Deftones' tenth album signifies the longest hiatus between albums since the band's formation and reflects their relentless quest for new sonic avenues within their characteristic bold soundscapes.
There's also an underlying acknowledgment of the significance of Moreno's various side projects – most recently last year's electronic-infused Crosses LP, ‘Goodnight, God Bless, I Love U, Delete.’ This serves to keep their creative output fresh and engaging. Consequently, 'Private Music's return to the established Deftones sound feels profoundly validating. It embodies a culmination of their previous work; a heartfelt tribute to past achievements, while also venturing into new territory that feels both surprising and comfortable in the best way.
Balance remains crucial as the intense, powerful elements that have always characterized Deftones’ music are ever-present – from Stephen Carpenter’s jagged guitars to Abe Cunningham’s massive drumming and the impactful bass of touring member Fred Sablan, who joined after Sergio Vega's departure in 2021. There are also moments for slower, reflective passages, often enhanced by Frank Delgado’s synth work, allowing Chino Moreno’s softer vocals to shine. Whether listeners seek the numerous riffs or contemplative reflections, 'Private Music' offers both generously.
From the very start of the lead single, ‘My Mind Is A Mountain’, a strong sense of direction and intention is evident. Producer Nick Raskulinecz, returning after more than a decade since 'Diamond Eyes' and 'Koi No Yokan,' effectively captures the band as they navigate between alt-metal heaviness and shoegaze ambient sounds, showcasing a renewed dedication to their eclectic blend of influences. Right from the start, there’s a focus on Moreno’s vocals as a sensory experience rather than something to be quickly analyzed – although fans will likely relish the chance to dissect their deeper, ethereal meanings delivered through his raw emotional expression.
Starting with a surge of roaring guitars, ‘Locked Club’ transitions into a rhythm that could easily align with tracks like ‘Royal’ or ‘Graphic Nature’ – an early sign that Raskulinecz, Moreno, and the band still have the ability to surprise their listeners, even if one is familiar with their style. Named after the process of shedding skin, likely linked to the album's striking artwork featuring a white snake against a vibrant backdrop, ‘Ecdysis’ begins with a moody, techno-inspired synth before bursting into a bass line reminiscent of those from ‘White Pony’. Meanwhile, ‘Infinite Source’ channels elements of Godflesh’s ‘Xnoybis’, featuring choppy, staccato harmonics with Moreno’s vocals gliding above.
Spanning over six minutes, ‘Souvenir’ is an expansive, dreamy experience dominated by Carpenter’s rich, thunderous guitar work, eventually leading to a false finish with nearly two minutes of ambient drifting. It’ll undoubtedly resonate powerfully in a live setting. For those seeking raw aggression, ‘cXz’ more than delivers, characterized by booming drums and a driving rhythm that recalls the energy of Koi No Yokan’s ‘Tempest’. In it, Moreno amusingly references transcendental number theory, pondering on consistent values like zeroes (“one is up, one is down, one is lost, one is there”), while the claps in the closing bridge evoke a peculiar Steve Reich experiment reimagined for the mosh pit.
As with its predecessors, the most striking moments on Private Music are often its quietest. Mirroring the introspective nature of tracks like ‘Sextape’ and ‘Teenager’, ‘I Think About You All the Time’ may be one of the most beautifully crafted pieces Moreno has ever recorded. Beginning with delicate, gentle guitar, its tender lyrics reveal Moreno’s softer side: “Riding your wave wrapped in your calm with your arms over my head.” This could be seen as an homage both to a beloved and to the band's ongoing desire for tender moments like this. It seamlessly transitions to the second single, ‘Milk Of The Madonna’, which bursts forth propelled by Cunningham’s drumming. Reminiscent of tracks such as ‘Mein’ and ‘Swerve City’, its vocal hook (“Holy ghost, I’m on fire / Holy Spirit, I’m on fire”) feels designed to stick in the listener's mind.
The final stretch of Private Music takes a darker, stranger turn. On ‘Cut Hands,’ the band revisits an alt-rock edge, accompanied by some of Moreno’s more intriguing lyrical choices (“you feel no longer steady but not wanting to give up, you’re running out of pennies not pulling me off my plain”), while ‘Metal Dream’ veers off further with Moreno alternating between spoken word over a deep, rumbling bassline and a hazy vocal performance that brings
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With the 30th anniversary of their 1995 debut 'Adrenaline' nearing, the Sacramento four-piece continues to explore new dimensions of their sound.