That Deftones trumped that record just two years later wasn't expected, but Koi No Yokan was so explosive and expansive that it didn't just blow away every Deftones record since White Pony, it was flat out my favourite record of the year. Its striking balance of beauty and brutality, an oft-attempted facet of the band's sound, was virtually perfected on Koi No Yokan, and I found myself approaching Gore with a level of anticipation I haven't felt about a Deftones record since they were gearing up to release their self titled follow-up to White Pony in 2003.
There's a parallel to be drawn between that self titled album and Gore, at least on the surface. They're both experimental records that aim to push the band's extremes at both ends of the heaviness spectrum. The difference is, where the former had a lot of ideas but didn't feel particularly inspired, Gore makes every moment count. From the opening track Prayers/Triangles on, there's
an ebb and flow not just to the album but, often, within the songs themselves. On Prayers/Triangles, a chilled out take on Deftones' signature style eventually gives way to a guttural, intense bridge.
Several tracks wrap some impressive sonic experimentation inside massive hooks; Acid Hologram, for example, isn't shy about inserting weird noises and tense atmosphere into its four minutes despite also having one of the album's stickiest choruses. (L)MIRL starts off sounding like the moody little brother to Digital Bath, at least until it unravels into Deftones' gnarled take on a lighters-up ballad, with thrilling effect. Then, there's Phantom Bride, a hypnotic slow burner that gets a little added crunch courtesy Alice in Chains axe-man Jerry Cantrell. We're not used to hearing guitar solos on a Deftones song, but Cantrell's performance gives the song a soaring quality that elevates it from simply a great song to a clear album highlight. When Stephen Carpenter's low-end bombast joins in at the song's conclusion, it's like being rewarded for listening to a song that was a reward in itself.
Really, what makes Gore so effective is the tension and interplay between Moreno and Carpenter. While Moreno's more melodic tendencies have plenty of room to roam here, Carpenter's allowed a few moments of pure destruction. Doomed User is chief among these, boasting a dirty, elastic riff; it's got a strong hook too, but its ferocity is undeniable. The title track goes even further once it hits its stride, culminating in some good old fashioned Moreno shrieks (one of which is sustained for a good ten seconds). As far as Deftones heavy tunes go, this one is thunderous and incendiary.
The true centerpiece here is Hearts/Wires, a calm and methodical mid-tempo lite-rocker that bubbles over with distortion once it hits its chorus at the midway mark. It's melancholic, bristling with tension and overall may well be the album's most satisfying song. Poor Pittura Infamante simply can't compete as a follow-up song, and it ends up the album's lone letdown by default. It's not even a bad song, just not utterly transcendent like Gore's best moments.
Make no mistake, Gore isn't an album that's designed to grab you on first listen, and a cursory glance paints it as a bit of a step back. However, after nearly a solid week of living with it, there's so much more going on with this record that I didn't catch from my initial listens. I'm glad I waited to review it, because it really is so much better after a dozen or so spins. That said, Deftones have always demanded a modicum of patience on the part of their fans, and I can say with absolute certainty that the 3½-year wait for Gore was patience well spent.
April 18, 2016 • Reprise
Highlights Prayers/Triangles • Doomed User • Hearts/Wires
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