Granted, in the ’90s the Deftones enjoyed the lifestyle of most other nu-metal artists, drugs and girls. I still don’t buy the notion that the Deftones‘ first two albums, 1995’s Adrenaline and 1997’s Around the Fur, were a part of the nu-metal patchwork. Rightly or wrongly, Sacramento outfit, Deftones ( Chino Moreno – vocals, Stephen Carpenter – guitar, Chi Cheng – bass, Abe Cunningham – drums, Frank Delgado – keyboards/turntables) were somehow lumped in with this melting pot of foul-tasting stew. A musical equivalent to Coronation Street and a new found stodge that some needed in their diet. It was a scene rampant with teen-angst, bare aggression, misogyny, cheap beer and weed, with its protagonists projecting a new born populism that was easy on the ear and rife with simplistic messaging.
On the back of nu-metal-concocted by empty-suit major label heads, tailoring the genre to cast and lure in the misunderstood, the economically deprived and culturally starved in regional areas across the world-a new culture emerged. The late ’90s were odd in many ways and the birth of nu-metal undoubtedly added to the uncertainty.Ī genre fusing together hip-hop and metal, nu-metal was designed for an anger-riddled youth.
Deftones – White Pony, a generational statement of intentĪs the Sacramento band’s seminal album turns 20, Getintothis’ Simon Kirk looks at how Deftones shaped the landscape of youth culture.
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