WHITE PONY review - Seminal shoegazey metal

(Reviewed by Melody Werner)

White Pony is a 2000 shoegazey alt metal album by Deftones. Their third record, it is widely considered to be the band's crowning achievement and one of the finest releases in metal of the 'oughts--if not one of the best albums of the decade, period. Released by Madonna's Maverick Records, it won a Grammy in 2001 and would come to be certified platinum in 2002; a little over two years after it initially dropped. However, Maverick reissued the album in 2001 with the controversial nü metal detour "Back to School (Mini Maggit)" bolted onto the start of the album--I will not be reviewing this reissue, despite its popularity and using its cover (as I cannot find a high enough resolution version of the original grey cover), because I know how much the band regrets making the song for how they feel it compromises with their vision. If the initial sequence is how they felt the album should have stayed, I'll respect that and not acknowledge the track they did simply to get their record company off their backs. Besides, I know that most fans discount it, and I gotta keep up appearances as a True Le Hardcore Deftones Fan™. And so, without further ado, a twenty years later take on White Pony: an album as gorgeous as it is dark, as glorious as it is vile sleaze, as earth-shattering as it is imminently listenable, as trance-inducing as it is fiery and engaging. White Pony is the stuff of myth, a legendary outing by one of the most consistently cutting edge mainstream bands of this millennium.

Over the past two decades since White Pony, Deftones has continually built up a well-deserved reputation as a band who aren't afraid to blow your ears out with thunderous instrumentals--or lull you over with Chino Moreno's crooning--in equal measure. This is most obvious on the album's--and the band as a whole's--greatest hit, "Change (In the House of Flies)". If you never got into Deftones much, trust me--you do know this song if you were around during the height of 2000's nü and alt metal. It's one of those songs that when I started getting into the band in earnest, I immediately recognized and basically went, "Holy shit, they did this one?!" Ditto with the luscious title track from Diamond Eyes, but I'll prevent myself from turning this review into a gushing session for White Pony and Diamond Eyes. I don't want to, but I digress. Anyways, Change is such a monstrous, darkly beautiful cut that exemplifies the band's strengths. Sonic serenity which lures you in while the lurid, disturbing lyrics provide a strong sense of dissonance. Whenever I hear Change, it still steals my attention.

But an album cannot stand on just one track, even if that track is "Change (In the House of Flies)". Fortunately, the remainder of the album is absolutely as pristine as its reputation would suggest. One of my personal highlights, which I think is even more unnerving, would be "Knife Prty", featuring (an undercredited) Rodleen Getsic. The fact that this song is as seductive as it is makes the violence of it all the more upsetting--intentionally so. This isn't the kinda metal that you toss up devil horns for--at least, not with this kinda cut. And it's the kind of song that I think you'd miss out on a lot with if you don't pay attention to its lyrics. Cuz, while Rodleen's vocals certainly do come off just as haunting as ever no matter how many times you spin it, the lyrics no doubt add to the subterranean quality.

That Moreno is so easily able to dance between ear-splitting shrieks and gorgeous cleans is impressive on its own, but the fact that no one else does it quite like him--that he is so singular--only adds to what makes Deftones so special, in general. And that is no more true than it is on White Pony. Every performance from him balances the feral and the sublime (haha), and it feels so effortless. There's a reason why the guy's one of my favorite vocalists in all of music, regardless of genre. (At least, as a musician. Less as a person, in light of recent news.)

But I think I've been glowing about Moreno a bit to the exclusion of the rest of the bandmates. All of whom were absolutely indispensable on White Pony, from the downtuned guitars and the unquestionable bass adding so much to the gloomy atmosphere and aesthetic. It's the kinda vibe that feels so honest and authentic in the pandemic era, but was always a solace beforehand when darker days came and you just felt so in its headspace. Meanwhile the drums keep the rhythm going in a way that feels so natural, and so impactful.

Not only does White Pony sound amazing even to this day, but it also brilliantly transports you to its world. A sinister, kinky, lethal world--but a majestic one all the same. While I think Deftones have met their own high watermark in WP since, it is without question their most definitive record, and one that I would easily recommend to newcomers or skeptics. As you could probably tell, this is a 10/10. Duh.

Masterpiece

Summary:

There is such craft in every moment of White Pony. But such danger, lurking. And such beauty, shimmering.