Review: Deftones' 'Gore'

Category:  The Arts
Thursday, April 14th, 2016 at 12:01 PM
Review: Deftones' 'Gore' by Britton Rozzelle

Following the release of several singles over the course of the year thus far, the Deftones' latest album "Gore" has finally dropped, bringing with it critical acclaim from many publications.

I'm somewhat pleased to announce that it lives up to the expectations set by promotional materials and reviews.

While not being the most exciting or interesting album, "Gore" elicits feelings akin to those present in early Deftones recordings, while maintaining a relevance and point of view entirely unique to today's musical tastes and sensibilities.

Unfortunately, the album does suffer slightly from the repetitious nature of many of the songs. Many in the first half sound very similar, and it's hard to truly love an album when the first four songs sound like they could be one. If that was the intention, though, I'd certainly be interested to hear the band's thought process behind it.

The album begins with "Prayers/Triangles," a melodic yet plodding track that takes its time to punctuate the vocals and lyrics, but doesn't do much to really draw listeners in-- making it almost entirely ineffective as an opener. That being said, it certainly sets the course for the next few songs as "Acid Hologram," "Doomed User" and "Geometric Headdress" all sound like they could be a part of a bigger overall song, with similar chords, vocal cues and percussion used throughout each of them which is, admittedly, something I feel the band has struggled with on previous albums.

"Hearts/Wires" slightly breaks away from the norm established by the other few songs and stakes a claim for one of the strongest songs on the album with distant, distorted vocals laying effortlessly over tightly-produced and directed instrumentals.

"Pittura Infanante" is arguably the most energetic song on the album, which really doesn't say much at all in its favor. This song might be the only one the band was actually awake for during their recording process, with dynamic guitar-work standing out against lively drums and vocals that have been brought back to the forefront after "Hearts/Wires." The song leads cleanly into "Xenon," which, much like the first half of the album, provides listeners with just more of the same. It doesn't take any risks, but it isn't an inherently bad song, either. It's just there.

The five minute long "(L)MIRL" displays the bands pension for melody and strong vocals, and gets bonus points for actually sounding different than the tracks that lead up to it. With that in mind, I think it is my favorite song on the album, if only for the dynamic nature of the instrumentals within the song itself.

The title track, "Gore", kicks in with breakneck drums and the band's signature vocal style and leads listeners into a dramatic rock song that would feel right at home in the company of the Smashing Pumpkins.

"Phantom Bride" is a dreamy rock tune that meets the length of other tracks (around five minutes) and is the best showcase of the bands writing and instrumental talent on the album, while the closer, "Rubicon" is a high-energy, dramatic and explosive track that could have probably done better as the opener -- as it not only stood out on the tracklist, but wasn't a chore to listen to.

Overall, "Gore" is more of the same from Deftones, and suffers greatly from a lack of individuality and creativity among its tracks. That being said, each one is solidly made and work individually. It's shockingly average, unfortunately, but solid enough that it's hard to find any conclusive evidence as to why it isn't on the same level as some of their other albums.

View Our YouTube Channel
Edinboro TV
Find Us on Instagram