Reprise Records

Deftones lead the experimental side of nu-metal- even pushing past it into the post-grunge era of the 2000s. After the hit of Saturday Night Wrist, they began another project, called Eros. Unfortunately, after a fatal car accident that left bassist Chi Cheng in a coma, they ended the project and took a short hiatus.

By the early 2010s, however, they released their most beautiful and colossal-sounding record: Diamond Eyes. With the inclusion of Sergio Vega on bass, we must analyze each track to see if this was a truly fortuitous piece moving into a younger and heavier generation. (Spoiler alert: it was, of course.)

“Diamond Eyes” – 5

This song holds an ethereal feeling between the melodic choruses and low ends from Carpenter. I will say the drum and bass work is kind of lost within the mixing, but they prop up the thicker side of the guitar work—so it’s a really great trade-off. It’s a unique take on a “love song,” with the symbolism of Diamond Eyes serving as a way of looking beyond a basic plane.

“Royal” – 3

“Royal” isn’t a bad song, but it pales in comparison to the magnificent tracks surrounding it. It feels like your basic Deftones approach—to the point of being a deep cut from White Pony or even Around the Fur. It’s a modernized take on the “retro” sound Deftones are most known for.

Chino sings about calling up to a higher power. However, this is more of a symbolic foundation for the type of lionization people place on those they’re attracted to. It’s nice and redeems the lack of creativity instrumentally.

“CMND/CTRL” – 5

Wow—this song has so much punch it breaks into groove metal territory. Carpenter’s work is drenched in that nu-metal attitude, with remnants of Limp Bizkit—but better. Sergio’s bass work is a chef’s kiss, with a simple rhythmic element behind a static-filled tone, almost a tip of the hat to Lemmy Kilmister.

Moreno has such presence, giving that almost West Coast feeling—to the point where I want to rep whatever block they’re on. As seen in the juxtaposed relationship between the command and control keys, the narrator and the love interest are portrayed as different sides of the same coin.

“You’ve Seen the Butcher” – 3

The second single off Diamond Eyes contrasts with “Royal.” It’s a very basic Deftones song that lays out a great love story. The album’s visceral beauty is encapsulated in this track. I feel like Stephen’s riffs seem phoned in—but maybe that’s just me.

“Beauty School” – 5

“Beauty School” continues with a beautiful dissonance between the angelic vocals of Moreno and the low growls of Carpenter’s guitar work, while Vega’s static-heavy bass playing provides the backbone. All of these come together to create an ethereal chaos that only they could pull off. This is led by a lyrical choir, covering a love story that carries a creeping viscerality.

“Prince” – 5

Even though this record carries a lot of emotional baggage, we hear it most in this track—and in Chino’s siren-esque voice. It’s a rising tension filled with sorrow and backed by strident instrumentation.

This song takes on a double meaning, referencing the short story of Prince Prospero and the Red Death, as well as the isolation brought on by fame and greed.

“Rocket Skates” – 5

Another masterpiece, “Rocket Skates” perfectly combines the punch of “CMND/CTRL” with the instrumentation of “Beauty School.” The mellowed-out aggressiveness gives it a perfect carrier melody. I really liked the thicker, fuller-sounding riffs here—especially compared to the similar approach in “You’ve Seen the Butcher.”

It comes down to a focus on hooks, guided by a more upbeat drum track that diverts the ear from the melodic low tunings of the rest of the band.

“Caress” – 5

Technically, this song is just a bonus track, but the original piece would’ve been censored to oblivion, so I’m replacing it with “Caress.” This cover of Drive Like Jehu’s “Caress” melds Deftones’ traditional sound into a punk/hardcore hybrid. It’s so well produced—it feels like a Cro-Mags song, a sonic takedown that made my jaw drop.

Between Chino’s harsher vocals and the snarling speeds of Carpenter and Vega on bass, it’s intense. Behind them, Abe Cunningham channels his best Animal-from-The Muppets impression.

“Risk” – 3

This song holds a lot of potential that the band slightly missed. With such a heavy lower half to the record, any deviation takes a risk of reducing momentum—hence the title.

The instrumental layout and production are perfectly fine; it just felt kind of hollow.

“976-Evil” – 5

When talking about this song, I’ll just call it “Evil”—I’m way too lazy to write out the full title. As its name suggests, the song covers a relationship slowly drifting apart from end to end.

It’s super melodic, with the drum work conveying a ton of emotion—probably a standout in Cunningham’s discography. I love the vocal effects on Chino’s voice, and the guitars play such isolated single notes that they nearly become secondary bass lines.

“This Place Is Death” – 4

As the title suggests, this final track is the most atmospheric piece the band has done—possibly surpassing anything from White Pony or Koi No Yokan. The melody is laid over a web of distortion and mellow heaviness that reminds us nu-metal isn’t just punchy riffs and attitude.

There was a time when hip-hop was mellowed out and filled with vibes—this is the nu-metal parallel. A remix of relationships that connects with a particular item or emotional stimulant.

Final Thoughts

While there were many mediocre songs on this album, the track list wasn’t bad. It perfectly encapsulates the idea of relationships, whether platonic, romantic, or between fame and the artist.

Considering what the band was going through, we see these themes come to a conceptual counterpoint. This record sparked a genesis in the Deftones’ image. They weren’t just a special type of nu-metal band anymore—they were a band, full stop, regardless of trends.