Deftones
Diamond Eyes

It is inevitable to talk about the sixth (or seventh) album by Deftones without starting from the tragic accident that involved bassist Chi Cheng, in a coma since 2008. Inevitable because if the ruthless destiny hadn't played its dirty game, we would be here talking about other stories, other scenarios, another work that should have been called "Eros" and seen the light precisely two years ago, thus becoming the legitimate successor of "Saturday Night Wrist". Instead, we find ourselves, understandably and justifiably delayed, having to analyze a different album, surely the most painful chapter of a long and bright career.

It has been 15 years since Deftones burst onto the music scene labeled as crossover, establishing themselves as a top-tier force in the movement. Successful since their adrenaline-filled debut in 1995, the recipe proposed by the Californian mestizo band: obsessive rhythms, abrasive and sharp guitars, and lyrics no less violent and perverse. An unrepeatable moment in our discography is undoubtedly "White Pony", in which the sound having reached its full maturity, leads the record to stand as one of the monuments of the last decade. Two more high-value trials will follow, but they won't manage to repeat the winning formula that led to the creation of a true masterpiece.

So we come to this sixth (or seventh) effort titled "Diamond Eyes" and right away the intention of the five to create something destined to surprise becomes clear. The title track "Diamond Eyes" opens the dance in which Deftones show the best of their repertoire: the heavy and menacing riff blends with an enchanting melodic line that manages not to succumb under the weight of the noise. "Royal" and "CMND/CTRL" are a dive back into the rage and coarseness of the beginnings: the riffs only seemingly simple but put together with harsh and bloody incisiveness are a trademark of the Canadians and promise to be spectacular live. "You've Seen The Butcher" is one of the album's strong pieces: Delgado creates castles of impressions in the air, sublime and perverse appearances, that easily marry with Chino's captivating voice and Stephen Carpenter's rough and sharp guitars, in great shape. But the charm of Deftones also lies in the fact that, like few others, they know how to be capable of opening up to the occasion in suggestive melodic plots like those of "Beauty School". Never so fascinating and precious, the melody of this song is captivating from the first to the last note and the lyrics maintain a wave effect that carries you away. The sixth track, "Prince", has something similar to the old "Rx Queen" and consequently brings us back to the tones and claustrophobic atmospheres of "White Pony". "Rocket Skates" unleashes unstoppable rhythms and devastating breaks which are almost impossible to resist; once it starts, you can't do anything but let it run wild until the end driven by the fierce screams of an indomitable Moreno (Guns! Razors! Knives!). Pure spectacle.

We catch our breath a bit with "Sextape", the softer episode of the album, a ballad of enchanting beauty that sounds like the perfect soundtrack for a night with a magical and romantic flavor. "Risk" is another typically deftonian song, with Delgado once again creating an ocean of special effects in which Chino's unique vocals immerse without scruples, accompanied by a more than ever sumptuous riff. A menacing jewel is "976-EVIL", balancing between a melody and a text that already excite from the first second and a vertiginous descent into the dark of the chorus. The work closes with "This Place Is Death", a track with confused and labyrinthine atmospheres that slightly disappoints those who now expected an explosive ending.

The Deftones have thus achieved an incredible result, although unfortunately born of a dramatic event. The fairest final judgment would be four and a half, but since it can't be, for now, it's a nice four. Time and a few more listens will decide if this can really be the new "White Pony". For the moment, all the hallmarks of a masterpiece are present.