White Pony

The choice of "Feiticeira" for the entrance track could not have been more perfect, it slowly brings you into their world, rather mellow, low and not needing your full attention from the start, like they were deploying tactics out of 'The Art Of War' they creep up on you. Still not giving anything away they move away from their signature sound to a mellow rock with quiet vocals and a bursting chorus with a screaming wail progressing to a big finale at the end of each track.This constant build up and slow release of anger and angst you would not normally think could be successful but Deftones handle it with precision. The tracks all length but with deep, sometimes sinister, and powerful dark emotions coming out clear over an almost sensitive and delicate melody abandoning hard-hitting bass lines, with frenzied guitar riffs, for a more slow and shadowy melody that works to draw you in, and seizes your attention for the entirety of the album.The dominantly mellow entrance is sharply killed by "Elite" where Moreno distorts his voice and screams over heavy guitars. This is only to throw you off before the brilliant "Rx Queen", amazingly although applying the same formulae as most the album still doesn't sound the same, each track seems to tackle some different aspect of their tortured lives. The album continues in its strike, rest, strike for most of the album but they seem to have mastered it in such a fashion that it only works to intensify their onslaught.This method is clear in tracks such as "Knife Party", "Passenger", "Change (In The House Of Flies)", "Pink Maggit" (A.K.A. Back To School (Pink Maggit)). All happen to be, probably the best tracks on the album. While Pink Maggit provided a perfect fade out for the original album version it now provides a nice rest before the final offensive from "The Boy's Republic" which now overshadows its predecessor and takes it's place as one of the best tracks of the album.