Just as hinted, Deftones released Ohms to the world this past weekend and to get right to the point, it is a good album.
Deftones is an established named for many, so there was no need for a “comeback” album, but the anticipation had built over the four years. With every passing year, the anticipation heightened especially once producer Terry Date (worked on Around the Fur (1997), Pony (2000), and Deftones (2003)) signed on for the album. The album was now expected to be exceptional and it is exceptional.
Ohms is Deftones’ shortest album to date – just ten tracks and slightly under 45 minutes, but that only tunnel-visioned their entire discography into this one condensed album.
Review of Ohms
Ohms fits all too perfectly in 2020. There is not much beauty within the album, but much processing of what is around us – a new sense of hopelessness. There is as much ugliness within the songs as there is in the modern-day world.
“We’re surroundedFrom “Ohms,” the closing song.
By debris of the past
And it’s too late
To cause a change in the tides
So we slip into
Our hopeless sea of regret”
Their songs are ramped up with the electric guitars, guitar riffs, banging and battering drums, melancholy vocal melodies, Moreno’s violent screams and screeches, and ambient music. The opening song, “Genesis,” is a red herring. It makes you think the album is going to be much tamer with the subtle electronic sound and the wading guitar but, it’s interrupted by Chino Moreno’s screeching vocals and then you’re reminded of what is to come. The album has a great follow up and ends strongly with “Ohms.”
Ohms is easily one of the best sounding albums of the year. Moreno’s voice is alluringly dreamy and romantic while Stephen Carpenter brings in the metallic sludge. There is a balance between the tension of the two that brings out a raw and crooning atmosphere.
Ohms tussles between metal, post-hardcore, and experimental. Yet, it’s still very familiar to fans of Deftones despite the fully transcending genre. There is a clear balance of experimenting while staying true to their longtime fans. This album was very reminiscent of Tool’s comeback album, Fear Inoculum. Both well-loved groups made music they wanted to make, which led to a meshing of genres, experimenting, and making creative decisions with no interest in commercial success. But do not let that deter you from listening to either album, both are great albums.
Deftones is still able to inspire even after almost three decades of being in the business. Ohms is nostalgic, destructive, abrasive, and beautiful. This isn’t a “comeback album,” but further proof that they are still energized and barley hitting their peak.
“Ohms,” “The Spell of Mathematics,” and “Genesis.”