We are just two weeks away from private music., the new album from Deftones, and after last month's "my mind is a mountain," the band have unveiled a hammering yet trippy single in "milk of the madonna." Where the first single from album number ten was methodical, this one is more urgent, but without giving up any of the dreamier soundscapes Deftones is known for. But what do those of us at The Nu Metal Agenda think of Chino and Co. being on fire?
Lucia Z. Liner: As a second single, this balances the slower pace of "my mind is a mountain." Immediately I'm reminded of "Mein" from Saturday Night Wrist, and the more straightforward metal fare that Deftones have offered over the years. "milk of the madonna" charges forward with riffs galore, with Chino's vocals sounding like he's crooning down a mineshaft. Stephen Carpenter's guitar tone here is something to behold, especially with his near-exclusive use of seven- and eight-string guitars these days. I still remember when him breaking out an eight-string for "You've Seen The Butcher" was a big deal, now it's just par for the course and I love that for him.
In any case, I'm no less excited for private music. than I was before hearing this song, but knowing that they have that balance between mind-warping and headbanging in check is never a bad thing.
Stephan Carrizales: Considering that I’m a walking living and breathing Deftones advertisement, and anything that they put out is gonna be an instant hit for me, this new track definitely displays a level of energy that’s relieving to see.
This song holds similar wavelengths to "Swerve City", with repetitive guitar riffs and a drum track that’s obviously displayed to make a crowd move, with added breaks and build-ups through out the song. I have no doubt that this is definitely gonna be a mainstay for future setlists and live performances.
rosiegothicc: I have no idea why, but this intro part reminds me of the intro to riff to "Ice Man Confessions" by Emmure. It doesn’t necessarily sound like the same at all, just a trippy spacious vocal chop that sounds similar to the riff and vocal chop of this song.
I’m not super religious (I was raised Roman Catholic, though), but I do also respect that most of the lyrics are artsy and obscure references to the Old Testament (specifically to Song of Solomon 2:15 and Judges 15:4-5), though I understand said lyrics are totally personal to the band and you're supposed to make your own meaning of them.
This totally reminds me of a “come to Jesus moment,” and while I don’t think Chino is religious, it's pretty clear that he or the person he’s writing the song about is asking for forgiveness. It could be a relationship gone awry, or a reference to what I think is a Bible verse that’s slightly edited in the second verse (as in self-doubt or a challenge that you can’t face). However, the repeated “fire” reminds me of the fire in the sense of I've lost my way, the sparks are fire within someone.
My only real gripe is the guitars on this track sound too samey. Maybe its that I’m getting over a cold and I’m listening to the lossless version of the song when my ears are screwed up but they sounded copy and paste for a few minutes. There is also 99% a perfect bridge, though I felt like the silence could have used some vocals even if they were faint and in the background. Something more was needed here.
Maybe I’m wrong and it's gonna be my song of the year within the context of the album, as I loved the last track. This one sounds like a song off Diamond Eyes, one of my personal favorites of Deftones.
Otherwise, it's a near perfect song.
Erin Brady: I hate to be so harsh off the bat, but yikes. Chino's vocals by themself are fine, but they clash heavily with the instrumentals. He sounds unpracticed and shaky in comparison, which would be passable back in the 90s, but come on man. You're 52 years old and have been in this industry for decades. When you are getting outsung by the singers/bands you've influenced (Kadeem France perhaps being the best example of this), it should be a sign to put a little more effort.
The song is not terrible or irredeemable by any means, but I can't help but now wonder the purpose of private music. Are they really putting their all into this project? Is this album just an excuse to continue touring as they have over the past couple of years? While I was not expecting a masterpiece on the level of White Pony, what has been available does not make me yearn to see Deftones again, and that's perhaps the biggest sin of "milk of the madonna."
Gabi Brown: I fear I have seen the future, and it’s slowly flattened into repeated attempts to strip “Swerve City” for parts until the engine gives out and there’s no gas left in the tank.
This band is exceptionally tight as always, but I feel like Stef’s getting way too comfortable just chugging on those 8/9-string guitars. Right now I see two paths forward for these guys: 1) take advantage of an incredibly talented rhythm section and lock into more off-kilter, low-end grooves, or 2) stop iterating on riffs everyone’s been hearing for years, turn down the amps, pull out of a drop-tuning arms race that’s arguably long since run out of road, and start exploring new frontiers harmonically.
This might grow on me over time, but I can’t help feeling like I’ve heard this song before, and will probably be hearing it again long after the full-length drops.
Sam Owens: This is good stuff. Overall, I think this track is much stronger than "my mind is a mountain" and part of me thinks they should have led with this one. However, I think the faster pace contrasts well with its predecessor and hopefully shows off some of the differing tones that the album will contain. Stephen Carpenter's riffs here are quite groovy, harkening back to all the best bits of Saturday Night Wrist and even Koi No Yokan.
I was a little worried about the album when the first single dropped, as it wasn't something I entirely meshed with. However, I'm feeling much more confident now, and after giving this a few more listens, I'm anxiously awaiting what comes next.
Drew Davis: I love this song. Can't stop listening to it. But I'm always down the for more up-tempo major key Deftones tracks. You can definitely sense the "Mein" DNA in this one. As a Saturday Night Wrist apologist, that's a big plus. What really grabbed me on this was the bass. The way new bassist Fred Sablan slides around Stef's guitar in the verse gives the song an energy and sophistication that sets it apart from older classics like "Swerve City." I don't know if this is sacrilege, but the song this actually reminds me off is "Bodies" by Smashing Pumpkins. That major tonality, the way the guitars never let up, even Chino's melody in the post-chorus.
Really, my only complaint is I wish Frank was a bit more prominent on this one, as the production might be too subtle in that regard. "my mind is a mountain" was good, but this one has me really excited for the next album in a way I haven't felt almost a decade.
