There aren't any lackluster similarities to Limp Bizkit and KORN. It is honest, stripped, and exposed with it's flowing guitar riffs and haunting orchestral back drops. The first single, "Change (In the House of Flies)," is hardening in the way that punk can be sultry and not just pogo-skanking nonsense. Moreno's duet with Tool's Maynard James Keenan on "Passenger" is as equally tender. Check out the fierce ballad-esque "Teenager" - the innocent days when life seemed easy can only be dreams now. Lyrically, Moreno is exquisitely mind-blowing, but his fear is also evident. "Elite" is a sonically industrial and embryonic, Moreno's beer-soaked vocals scream like Ministry's Al Jourgensen and Skinny Puppy's Nivek Ogre. "Feiticeira" calls out against authority with textured guitars and gnarling percussive throws. Frontman Chino Moreno is still intense, and his sour vocals throughout the entire record growl and stomp all over mainstream movements. The Deftones went soft, but in an impressive way, to twist around its signature punk thrash sound.
The band struggled with leading its direction, trudging through weighed emotion, but White Pony was the tantalizing outcome. Their 1997 sophomore effort Around the Fur was hailed to blast out commercially, but such pressure crippled the band musically and personally. Sensing painful frustrations and personal rediscovery with its allusive microcosm of an album title, the Californian alt-rock five piece were periodically stifled while making White Pony. Hard rockers Deftones take their heavy post-grunge ways to another level on their third album White Pony.
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