(0 users) 
Cover is also available in
Join Patreon for 4K upload/download access
Your Rating (Click a star below)
Track List
01) Genesis
02) Ceremony
03) Urantia
04) Error
05) The Spell of Mathematics
06) Pompeji
07) This Link Is Dead
08) Radiant City
09) Headless
10) Ohms
01) Genesis
02) Ceremony
03) Urantia
04) Error
05) The Spell of Mathematics
06) Pompeji
07) This Link Is Dead
08) Radiant City
09) Headless
10) Ohms
5:17
3:27
4:30
4:50
5:27
5:25
4:37
3:35
4:59
4:10
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2020
Nu Metal
Hypnotic
---
---
Medium
Album
0 copies
Album Description
Available in:
Ohms is the ninth studio album by American alternative metal band Deftones, released on September 25, 2020, through Reprise Records.
Background
Ohms is the first Deftones album since their eponymous 2003 album to be produced by Terry Date, although the last time the band had worked with him was during the sessions of the unreleased album Eros in 2008. It is also their first album on which Stephen Carpenter utilizes a nine-string guitar. The cover art was designed by Frank Maddocks, who previously worked with Deftones on several albums including White Pony.
Promotion
The band began teasing the album's release with a week-long digital campaign in August 2020. Deftones released cryptic social media posts, their official website and animations through Spotify's Canvas feature that when solved revealed the word "ohms" and longitudinal coordinates for a billboard in Los Angeles teasing the album artwork. The campaign concluded with a formal announcement for Ohms and a music video for the album's first promotional song, "Ohms". The music video for "Ohms" was directed by Rafatoon and featured what Rolling Stone described as, "band performance video interspersed with scenes from a dystopian world, mirroring the musically and lyrically heavy song sentiments." At the time of release, vocalist Chino Moreno said described "Ohms" as a "a good scope of where this record's at," though in a separate interview producer Terry Date didn't feel like the song was a good choice for the album's lead promotional track.
Deftones were originally scheduled to tour North America in support of Ohms with Gojira and Poppy in July to September 2020. Due to the COVID-19 pandemic, the tour was postponed until 2021.
User Album Review
The last time Deftones worked with producer Terry Date – the man who helmed the desk for the Sacramento band’s classic first four albums – was in 2008. That record was called ‘Eros’. You’ve never heard it. Work was aborted on the record in November that year, following a car accident that left bassist Chi Cheng in a coma – one from which he never woke. He died of cardiac arrest in April 2013, aged 42.
It’s likely that entering Date’s studio once more was both painful and cathartic for the Deftones surviving members. While it’s not explicit at all – lyricist Chino Moreno has rarely signposted what on earth it is he’s singing about – you can feel both pain and catharsis all through Deftones’ ninth studio album. It’s heavy stuff, both sonically and in emotional clout. There’s something many forget about heavy music. Sabbath, Metallica, Slayer and beyond; it’s all heavy fucking metal. But sometimes emotions – we’re thinking New York synth punk pioneers Suicide or the tinnitus-inducing My Bloody Valentine – can be heavier than any barre chord.
That said, it’s been a while since Deftones have leant into the latter word within the descriptor ‘alternative metal’. As long ago as 2017, Moreno said that – after the no wave of 2016’s excellent ‘Gore’, a record as pretty as it was noisy – this time around he’d be stepping back from the songwriting to give guitarist Stephen Carpenter and drummer Abe Cunningham more room in which to create. It’s true that much of Deftones’ magic comes from the friction of Moreno and Carpenter’s creative minds butting up together. Someone once described the singer as the Morrissey to the guitarist’s Meshuggah. And yet it is wonderful to once again hear a Deftones record as heavy as molten lead, as furious as an enraged honey badger.
There’s still grace here; sequenced mid-album, ‘Pompeji’, wafts as much as it roars and features a crooned Moreno vocal that ranks among his very best (as well as, bizarrely, a sample of squawking seagulls atop glacial synths). But there is a significant quota of filth here too. Atop a guitar line that could only be transcribed by a certified lunatic, ‘This Link Is Dead’ features the kind of vocal that lozenges were invented for. As well as hosting the sort of central melodic refrain any band would kneecap a grandparent for, ‘Ceremony’ has a guitar part that is pneumatically pulverizing.
All of this means ‘Ohms’ is a very 2020 sort of album. This isn’t a year in which beauty makes all that much sense. These songs are as ugly as the news. As disfigured as the environment. As barren as the hope felt by the majority of the world’s inhabitants. Again, Moreno might as well be singing about what breed of guinea pig is the best, such is the obliqueness of the record’s words, but there’s truth here, amplified louder than perhaps ever before. ‘Error’ sounds much like the Sonic Youth songs explicitly created to upset people. Elsewhere, ‘Radiant City’, its stuttering riff as dirty as a bus station toilet, could have ignited a rock club’s dancefloor back in 1997.
And yet, for the largest part, 20 years on from the nu-metal boom which blasted Deftones to prominence, their categorisation within that scene seems more and more befuddling. This is music that would send the members of Papa Roach into an aneurysm. These are sounds that Limp Bizkit’s Wes Borland – a man who has been held hostage in the aforementioned band for decades now – has been searching for all his career. All credit has to go to the band for always looking forward, never dwelling in the present, rarely looking to the past. There’s a reason the skeletal form of ‘Eros’ has never had flesh hung upon it, and it’s not just how painful revisitation might be.
One imagines that the first day back in the studio with Terry Date might have been painful. It might have been cathartic. But what it seems to have done is give the band an attuned ear to the world. A platform to express rage they’ve never done before and to further solidify their status as the most interesting heavy metal band in the world.
SOURCE: https://www.nme.com/en_asia/reviews/album/deftones-ohms-review-2759049
External Album Reviews
None...
User Comments
Available in:
Ohms is the ninth studio album by American alternative metal band Deftones, released on September 25, 2020, through Reprise Records.
Background
Ohms is the first Deftones album since their eponymous 2003 album to be produced by Terry Date, although the last time the band had worked with him was during the sessions of the unreleased album Eros in 2008. It is also their first album on which Stephen Carpenter utilizes a nine-string guitar. The cover art was designed by Frank Maddocks, who previously worked with Deftones on several albums including White Pony.
Promotion
The band began teasing the album's release with a week-long digital campaign in August 2020. Deftones released cryptic social media posts, their official website and animations through Spotify's Canvas feature that when solved revealed the word "ohms" and longitudinal coordinates for a billboard in Los Angeles teasing the album artwork. The campaign concluded with a formal announcement for Ohms and a music video for the album's first promotional song, "Ohms". The music video for "Ohms" was directed by Rafatoon and featured what Rolling Stone described as, "band performance video interspersed with scenes from a dystopian world, mirroring the musically and lyrically heavy song sentiments." At the time of release, vocalist Chino Moreno said described "Ohms" as a "a good scope of where this record's at," though in a separate interview producer Terry Date didn't feel like the song was a good choice for the album's lead promotional track.
Deftones were originally scheduled to tour North America in support of Ohms with Gojira and Poppy in July to September 2020. Due to the COVID-19 pandemic, the tour was postponed until 2021.
User Album Review
The last time Deftones worked with producer Terry Date – the man who helmed the desk for the Sacramento band’s classic first four albums – was in 2008. That record was called ‘Eros’. You’ve never heard it. Work was aborted on the record in November that year, following a car accident that left bassist Chi Cheng in a coma – one from which he never woke. He died of cardiac arrest in April 2013, aged 42.
It’s likely that entering Date’s studio once more was both painful and cathartic for the Deftones surviving members. While it’s not explicit at all – lyricist Chino Moreno has rarely signposted what on earth it is he’s singing about – you can feel both pain and catharsis all through Deftones’ ninth studio album. It’s heavy stuff, both sonically and in emotional clout. There’s something many forget about heavy music. Sabbath, Metallica, Slayer and beyond; it’s all heavy fucking metal. But sometimes emotions – we’re thinking New York synth punk pioneers Suicide or the tinnitus-inducing My Bloody Valentine – can be heavier than any barre chord.
That said, it’s been a while since Deftones have leant into the latter word within the descriptor ‘alternative metal’. As long ago as 2017, Moreno said that – after the no wave of 2016’s excellent ‘Gore’, a record as pretty as it was noisy – this time around he’d be stepping back from the songwriting to give guitarist Stephen Carpenter and drummer Abe Cunningham more room in which to create. It’s true that much of Deftones’ magic comes from the friction of Moreno and Carpenter’s creative minds butting up together. Someone once described the singer as the Morrissey to the guitarist’s Meshuggah. And yet it is wonderful to once again hear a Deftones record as heavy as molten lead, as furious as an enraged honey badger.
There’s still grace here; sequenced mid-album, ‘Pompeji’, wafts as much as it roars and features a crooned Moreno vocal that ranks among his very best (as well as, bizarrely, a sample of squawking seagulls atop glacial synths). But there is a significant quota of filth here too. Atop a guitar line that could only be transcribed by a certified lunatic, ‘This Link Is Dead’ features the kind of vocal that lozenges were invented for. As well as hosting the sort of central melodic refrain any band would kneecap a grandparent for, ‘Ceremony’ has a guitar part that is pneumatically pulverizing.
All of this means ‘Ohms’ is a very 2020 sort of album. This isn’t a year in which beauty makes all that much sense. These songs are as ugly as the news. As disfigured as the environment. As barren as the hope felt by the majority of the world’s inhabitants. Again, Moreno might as well be singing about what breed of guinea pig is the best, such is the obliqueness of the record’s words, but there’s truth here, amplified louder than perhaps ever before. ‘Error’ sounds much like the Sonic Youth songs explicitly created to upset people. Elsewhere, ‘Radiant City’, its stuttering riff as dirty as a bus station toilet, could have ignited a rock club’s dancefloor back in 1997.
And yet, for the largest part, 20 years on from the nu-metal boom which blasted Deftones to prominence, their categorisation within that scene seems more and more befuddling. This is music that would send the members of Papa Roach into an aneurysm. These are sounds that Limp Bizkit’s Wes Borland – a man who has been held hostage in the aforementioned band for decades now – has been searching for all his career. All credit has to go to the band for always looking forward, never dwelling in the present, rarely looking to the past. There’s a reason the skeletal form of ‘Eros’ has never had flesh hung upon it, and it’s not just how painful revisitation might be.
One imagines that the first day back in the studio with Terry Date might have been painful. It might have been cathartic. But what it seems to have done is give the band an attuned ear to the world. A platform to express rage they’ve never done before and to further solidify their status as the most interesting heavy metal band in the world.
SOURCE: https://www.nme.com/en_asia/reviews/album/deftones-ohms-review-2759049
External Album Reviews
None...
User Comments
No comments yet...
Status
unlockedRank: External Links
