Review Summary: The Deftones dive deeper down the rabbit hole, completely shedding their nu-metal tendencies and replacing them with carefully crafted songs that successfully reflect the time, energy, and passion put into each and every one of them
Whether you are a fan of the Deftones or not, you have to admit they consistently put out strong efforts and have been doing so since Around the Fur was released in 1997. Even through the comatose of their longtime bassist and even longer time friend Chi Cheng (and eventual death which occurred unfortunately a couple weeks ago) they put out two amazing records, Diamond Eyes in 2010 and Koi No Yokan which was released just last year in 2012. Saturday Night Wrist (SNW known on from this point on) was the last record released that Chi plays on and boy does it showcase his bass playing, which is arguably his best here as showcased in the lush Cure-like "Cherry Waves" that boasts intricate and beautiful bass fret work and a catchy strong chorus to boot.
SNW boasts an ocean-like eb and flow atmosphere that sways calmly, crashes viciously, and recedes gently just like the sea itself. What makes this album greater though than other Deftones albums is its ability to keep its looming atmosphere throughout the 52 minute running time. The band takes a real note from the Cure, one of Chino's biggest influences, by managing to not only create such a powerful, capturing, and emotional atmosphere but allowing it to sit and fester on each of the album's 11 songs. This is mainly due to Frank Delgado, the band's DJ, turning in the turn tables for a keyboard that is used elegantly and appropriately in each of the songs where it is present, mainly "Combat" and "Xerces", two of the SNW's lighter tracks.
Nearly every song on here is great, wether it is the short, spacey, Around the Fur-like "Rapture" or "Beware" which manages to bleed power in every aspect (instrumentally, lyrically, vocally). Even Serj Tankian from System of a Down manages to stop by and contribute vocals to the truly haunting and dark "Mein", a song where drummer Abe Cunningham truly shines as well with his simple yet effective fills placed nicely throughout the song. The album does hit one big bump though midway through the album; Pink Cellphone, which tries to be edgy, mysterious, and different ends up being vulgar, forced, and weird for all the wrong reasons, ending in another guest vocalist, Annie Hardy, spewing disgusting lyrics about poop and the British's bad teeth. Also the Panopticon era Isis-like instrumental centerpiece "U, U, D, D, L, R, L, R, A, B, Select, Start" which serves as a transition in the album, while beautiful and different from the usual Deftones instrumentation, can be seen as dragging and mundane.
Like a fine wine or rare cheese, the Deftones seem to only get better in time. While maybe not as pivotal as White Pony or even perhaps Diamond Eyes, SNW is an album that proves to solidify the band as a modern mecha of progressive-tinged alternative rock that is executed nearly flawlessly on each and every album post Around the Fur. Even with the recent death of Chi, the future looks bright for the Deftones. They have always been a band that has taken their hardships and turned them into an energy that fuels them to create music that is organized, meticulous, and emotional. Although it may take some time to heal the wounds caused by Chi's passing, the Deftones will ultimately return stronger than ever and release yet another album that embodies everything the band stands for: quality.
Pros:
-the band seems to be at their best here, playing cohesively and powerfully
-the atmosphere
-aggression balanced well with beauty
Cons:
-"Pink Cellphone"
-"U, U, D, D, L, R, L, R, A, B, Select, Start" to some listeners
4.5/5
