With the Deftone's third album, White Pony, they set themselves apart from the posers, packaging their usual hammer heavy hardness with a newly attained level of dense, haunting, and textured rock and roll that can only be safely classified as "moody art rock."
The moods swing from the demonic rage of "Elite" or "Korea," where front man Chino Moreno spends most of his time screeching in his now familiar roar, to flashes of Cure-style goth on "Digital Bath" and "Passenger," (which features guest vocals from Maynard James Keenan of Tool). There's even a ballad. The soft and thoughtful "Teenager" sounds like a lament of the carefree days of youth.
Standout tracks include "Change (In the House of Flies)," "Passenger," and "Digital Bath," a song that, at it's core, refers to murder, but sounds almost sweet on the surface. This ambiguisness runs through the record on other tracks like "Knife Party" and "RX Queen."
The new sound is softer than Adrenaline and Around The Fur, but provides the same emotion and intensity without missing a beat. The lovelorn heart of Moreno beats as that of a poet and on White Pony you will feel his sorrow in a swoon of multidirectional harmony and pain.
The record is as complex in its message as it is musically layered. The Deftones have always scated the line between hard and heavy rock and roll and moody art rock. White Pony is the perfect product, a haunting and textured rock record that announces The Deftones as one of the most intelligent, playful, and critically acclaimed bands in the biz.