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Sep 30, 2020 Web Exclusive By Candace McDuffie

The sauntering and sonically devastating rock that Deftones have worked decades to pioneer is the blueprint for many other acts looking to emulate that particular sound. Crushing guitar riffs and heart-racing percussion, paired with Chino Moreno’s sublimely haunting vocals, have secured the group’s place in modern music history. And on their ninth studio album, Ohms, the formula doesn’t change as much as it evolves.

Powerhouse opener “Genesis” finds Moreno melodically pleading for grace during a creative rebirth and though the lyricism veers toward more existential dread, he still makes it audibly appealing. “Ceremony” is a bit heavier in its delivery with it ominous undertones; “Urantia” is Deftones’ take on a love song despite how despondent and macabre it initially seems: “Tempt my spirit within my name/We crawled in the tomb and release some honey/Eighteen hundred million ways striving to make it last.”

“The Spell of Mathematics” is as eerie as its title implies; “Pompeji” is a refreshing moment of clarity even with all of its heaviness. There is a floaty nature in Moreno’s voice that carries him off seemingly into another realm. “This Link Is Dead” is the most rageful it gets on Ohms as Moreno’s indignation is echoed in lines where he confesses that he’s “filled up with true hatred.” “Radiant City” and “Headless” reinforce Deftones’ proclivity for doomy rhythms (although the bassline in “Headless” is one of epic proportions).

The album’s title track is the 10th and final song; it also serves as a pensive and optimistic reflection on the current state of the world. Ohms is a gigantic undertaking that is fit for a band with even bigger ambitions. At this point in their career, Deftones have nothing to prove to anyone but themselves. Their latest work of art is simply a reminder of their greatness. (www.deftones.com)

Author rating: 8/10