Album Review

Deftones – Koi No Yokan

• 10th Nov 2012

‘Diamond Eyes’, the most recent Deftones record prior to the release of ‘Koi No Yokam’, acted as a reawakening for both the band and their audience. Before this there was an overarching feeling that the Sacramento based five-piece had past their prime – a return to the glory days of ‘White Pony’ seemed entirely unlikely. Returning the passion and poignancy back into their sound, ‘Diamond Eyes’ accomplished the improbably task of pushing the band back to the top of their game, supported by a critically acclaimed touring schedule around the globe.

The danger in succeeding in this comeback-of-sorts envelops the release of the follow-up LP. Sitting in the same position as the “difficult second album”, ‘Koi No Yokam’ holds a considerable weight of expectation on its shoulders. This is not just another Deftones record – far from it; this is the make or break moment for a band repeating a pinnacle of success. Rarely has a record incited a whirlwind of anticipation as has been felt through the alternative musical culture in recent weeks.

Fortunately, Deftones have accomplished that which was needed on their seventh studio album. Safely continuing on from ‘Diamond Eyes’; the album relies heavily on the expansive soundscapes which dominated their resurgence. Opening track ‘Swerve City’ bombards the audience with a repetitive force before gently parting ways to allow Chino Moreno’s vocals to immerse the listener. Although distinctly Deftones, the momentum generated through the opening moments of the track sits more comfortably against the vocal sections than in past efforts. Whereas the previous album failed to succinctly pull together the beauty of the voice and the instrumental ferocity, ‘Koi No Yokam’ blends them together with ease.

The result is a distinctly retrospective affair. Not quite a return to the nu-metal influences of ‘White Pony’, the record reimagines techniques which established the band in the initial stages. Never is this more evident than on ‘Gauze’ – a track which mismatches the vocals and guitar riffs before slugging through a gritty verse ensued by a hauntingly delicate chorus. Come the two minute mark and the beauty has all but given up in place of slamming guitars and immediate brutality.

It is this considered combination that elevates the album to the necessary mark to satisfy the doubters. At its core, ‘Koi No Yokam’ is explosive enough to silence those expecting further minimalist experimentation yet gentle enough to provide the haunting overtones that characterise the outfit. ‘Leathers’ cleverly plays with the balance by heavily reverting back to earlier sounds in the bands back catalogue – complete with Moreno’s recognisable broken screams. On the other hand ‘Entombed’ and ‘Rosemary’ opt for a softer approach, sitting comfortably between distorted compositions. Far from simplicity, the tracks delve between approaches from moment to moment – the album structure allowing for this fluid movement.

Deftones needed to cement their recently rediscovered craftsmanship, and with ‘Koi No Yokam’ they have succeeded. The waves of brutality dispersed between a more gentle sound constantly simmer below the surface; although these breakouts are never unexpected they are more prominent than ever. The impeccable balances between the various moods which formulate the record provide an eerie and haunting beauty at every turn. If this is the difficult second album of their reinvigoration they have successfully broken every jinx which has ever been imposed.

Venue: Koi No Yokan
Support Band: Reprise