All of the 10 tracks are strong, however, the blistering pace of “The Link Is Dead” and the chaos of “Radiant City” stand as definite highlights on an incredible album.įront to back, Ohms is a sonic journey and, in many ways, is among the most ambitious collections of music from Deftones which makes for a very strong case for the title of Album Of The Year. The band seamlessly blends a barrage of volatile alternative metal with ambient breaks, as best heard between the aggressive, rhythmic guitar chugging and the atmospheric verses of “Urantia” and the contrasting heaviness and spaciousness of “The Spell Of Mathematics”. Unlike “Genesis”, this is perhaps the most similar track to their recent albums with its melodic vocals and long guitar runs drenched in shoegaze inspired tones.īetween the singles lies eight more tracks, each less distinctive of a particular era in Deftones’ catalogue, and more reflective of a refreshing collision of old and new, making for a modern sound that remains distinctively that to Deftones. On the other hand, the album concludes with the title track, “Ohms”, the first single released ahead of the record. The aggressive track is unrelenting, explosive, and bound to be a favourite among the album. Opening with the single, “Genesis”, Deftones set the tone properly with a track that sounds as if it should have been on their seminal album White Pony (2000). The result is a creative revival that sounds reminiscent of their work from two decades ago mixed with the strongest musical aspects of 2010’s Diamond Eyes and 2012’s Koi No Yokan.

Now, the band has reunited with long-time producer, Terry Date, who produced the first four Deftones’ records up to 2003’s self-titled release, for their latest album, Ohms. Four years ago, Deftones released Gore, the most drastic departure from their known alternative brand of metal.

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