2016's Gore brought Deftones to an unfamiliar place: mediocrity. Everything about Gore was so unassumingly average that it's difficult to even remember much in the way of specifics outside of the very limited highlights ("Doomed User", "Prayers/Triangles", "Phantom Bride") that offered brief reprieves from the surplus of monotony that served as its backbone. After a longer than expected four and a half year layoff, the alternative metal group is finally back in the saddle with their ninth LP Ohms. While Ohms offers a very slight change in formula from Gore, there are enough tweaks for this record to serve as an effective and important course correction.
Ohms is mostly a triumph due to its ability to recapture the classic Deftones mojo and that started with reuniting with producer Terry Date. Date played an essential part in crafting their sound in the early days (he produced their first four records) and despite being away from the band for 17 years, he's still got a tremendous feel for what the group is going for musically. His pristine, well-balanced mixing that gives certain moments the subtle space they need to breathe and arms others with stunning sonic force shows that he understands the balance of beauty and brutality that drives Deftones better than anyone that isn't a permanent member of the band.
Naturally, the second part of this revival effort came with some much needed songwriting refinements. Most notably, guitarist Stephen Carpenter was actually allowed to plug in his guitar for more than a few minutes on this record. Armed with a nine string guitar that further enhances the power of his massive playing style, Carpenter makes up for his borderline absence on Gore by having his signature chunky, groovy riffage serve as a centerpiece on nearly every song. Carpenter's guitarwork is the driving force behind the heavy side of this group and it was great to see the group not inexplicably sideline him for a second consecutive record.
Giving Carpenter his room to go off is complemented by further diving into post-rock/dream pop/shoegaze elements of their sound. There's some really intoxicating spacey shit here on including extended jam-like outros ("Error") and unexpected ambient detours ("Pompeji", "The Spell of Mathematics") that sees keyboardist/sampling ace/turntablist Frank Delgado getting his most impactful work with the group in ages-which gives a nice little experimental kick that adds a couple of new layers to their already extensive arsenal.
This trio of factors also led to a particularly strong vocal performance from Chino Moreno. Moreno sounds pristine as he navigates through these familiar yet subtly different backdrops with his serene singing and vicious harsh vocals that have been gracefully adjusted to account for the limitations his shriek-driven style has after 25+ years of performing. While it's not exactly shocking Moreno still sounds good at this juncture, it's been a minute since his vocals were this commanding and sharp over the course an entire project.
Ohms is a loud, proud declaration that these grizzled metal veterans still have some juice left. Uncovering the revelation that Gore was just a lazy aberration would've been enough to make Ohms a W, but it also happens to be without a doubt some of the strongest material they've released since White Pony. Longevity will be a crucial part of their legacy and releasing inspired, high quality records as they creep towards their 30 year anniversary as a group only adds to that growing legend.
Grade: B+
Standout Tracks
1.Radiant City
2.Genesis
3.This Link is Dead
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