4.5/5 stars
There is a reason why some bands don’t churn out studio albums every year.
It all goes back to the quality over quantity philosophy. Releasing a great album every three or four years is generally more appreciated and respected by people who appreciate good music.
This approach to recording music is why Deftones has gained a lot of respect and fans over the years. Many moons pass between album releases, but when the band unleashes a collection of new material, it wins over new listeners and assures its current fans of its solidarity and cohesiveness as a group.
Saturday Night Wrist is no exception. Deftones has hit one out of the ball park once again with its first release of new material in three and a half years.
To be able to appreciate the heavy rock quintet’s latest offering, it is important to appreciate music with muscle. Wrist is a portrait of the band’s constant evolution fused with the trademark sound that brought it into the forefront of modern rock. It has an edge unparalleled by many of today’s nu-metal lineups.
Musicianship is the element that really makes Deftones stand apart from other ensembles. The band is clearly more confident in its sound than ever before. It certainly doesn’t hurt that the line-up has never changed, save for the addition of Frank Delgado on turntables before the release of White Pony in 2000. This album, much like its predecessors, is ever-changing in mood. Wrist attacks, soars, crashes and then soothes, only to return back to its original form before ending with grace.
The group’s latest studio recording kicks off with “Hole in the Earth.” Lead vocalist Chino Moreno’s pipes are more powerful and versatile than ever. He belts out abstract and sometimes nonsensical lyrics, but they somehow seem to make sense and fit within the songs.
“Cherry Waves” is the entire band at its best, counter-balancing the first tracks of the album with a mid-tempo, mellow feel without losing intensity. Moreno’s voice is spot-on, drummer Abe Cunningham’s finesse is remarkable and bassist Chi Cheng’s support is technically sound.
Later in the album, the group reveals a softer side. “Xerces” and the album’s closer “Rivi‹¨re” are reminiscent of the more melancholy moments of Deftones’ 2003 self-titled release.
It is easy to detect an increase of maturity and sense of innovation with each release of the Sacramento-based group’s albums. The band is never comfortable with operating on auto-pilot and has always wanted to expand its sound.
The ability to reach a happy medium between innovation and tradition has been the key to the group’s long-term success, and the culmination of this success can be witnessed on this recording, which is likely a front-runner for the best rock album of the year.