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  Zahir

It honestly doesn’t feel like Deftones’ last release was 5 years ago. In that time the band have played their usual jaunts in the USA and traveling away but without resident multi-stringer Steph Carpenter for… “reasons”. We also had the departure of bassist Sergio Vega for “reasons”, who has now been succeeded by Fred Sablan of LA hardcore band Heavens Blade. It’s not all doom and gloom in the camp as vocalist Chino has managed to successfully complete non-domestic dates with the help of a stand in for Steph (namely, Lance Jackman).

And so, we find ourselves here, at the point of their 10th long-form release, private music. Whilst they haven’t leaped into new areas of the avant-garde, the release builds on the foundations of fore-runners Koi No Yokan, Gore and Ohms. A lot of the soundscapes pull from those releases, but with an air of freshness at its core.

The album opens up with my mind is a mountain which is very reminiscent of the tracks on Diamond Eyes. Sampler, Frank Delgado has the space to showcase some superb atmospherics here – something that’s slowly become more commonplace in these later albums. The track is a great opener, pulling no punches yet easing the listener in. Next is, locked up during which the vocals reach for the megaphone in typical “anthemic Chino” fashion. Halfway through was when I really zoned into Carpenter’s guitar playing. At this point the sonic porridge is thick but still flavourful. The song’s “Can you feel it” crescendo begs the question, but if you aren’t yet, ecdysis should grab you.

The third track is the first time we really hear a true bassline and its straight out of the early 2000s Filter playbook – and it feels good! I’d go so far as to say Abe even successfully emulates Steve Gillis in the pounding rhythm. This bass/drum combo persists for the verses and sounds fresh in context of the album as a whole. The chorus once again allows the synths to embellish the melody without overpowering the other instruments. The name of the track is apt and really does feel like the ensemble are shedding their skin to be reborn.

Next up, infinite source, opens up like it could have easily come from Saturday Night Wrist. The bass takes a step out of the light here but still present. Solid track and the syncopated ending is the cherry on top. souvenir again takes the listener back to Koi No Yokan territory and like many of the tracks on that record, Frank gets a chance to take centre-stage with the prominent ambience, even taking the chorus into a more solemn place with his use of minor notes. You can almost taste the melancholy.

The ambient ending leads straight into cXz where things regain pace after the reprieve. It’s a wall of sound that breaks in the choruses. Frank is again at it with some digital wizardry over the vocals to reward those who listen close. More breathing room is provided by the track I think about you all the time which again harkens back to SNW; going for a more regular song-structure when the drums enter – albeit with a triplet feel. If you ever wanted a slightly heavier ✝✝✝’s – here’s your wish come true, as milk of the madonna once again allows the bass to take the lead with melodies.
cut hands is an interesting change of pace, but nothing too alien. It did have me thinking about The Prodigy though… Sablan again takes a page out of 2000s industrial with the subtle but driving bassline in ~metal dream. It seems Chino is also channeling Chi Cheng in the very poetic lyrical style here (God rest his soul). It’s almost like this is expanded on as we move into final track departing the body, where I was genuinely left wondering whether there was a guest vocalist. It’s a new aspect of Chino’s vocals that I cannot remember ever encountering. It’s very reminiscent of Chi’s spoken word works in spirit. This last effort showcases all the group’s strength and is a fitting end.

Writing the end of this review really got me thinking whether the late bassist and original member was heavier on the minds of the group than usual. After all they did release the first single my mind is a mountain on what would have been Chi’s 55th birthday. The parallels between private music and the previous albums I mentioned could be a result of them working with producer Nick Raskulinecz, who produced KNY and Diamond eyes.

Is it a groundbreaking shift akin to that between Around the Fur and White Pony? Not quite as steep a step, but private music has done well to cement the status quo of the group. They also manage to do something that not many successfully accomplish these days, which is release in the album format. Looks like its not so dead after all! Overall, it’s a solid performance with enough fresh strokes to keep them forever relevant. Also, clever with the solitary “X” being the only capital in sight…

Highlights: ecdysis, infinite source, ~metal dream