There remain some people who aren’t convinced that the Deftones are a special band, but if it’s possible to evaluate music subjectively, then few could argue that the post-alt metal quintet at least belongs on the ballot. For one thing, the Deftones Sound evolves (and occasionally just mutates), leading to a dynamic catalogue of resemblant but dissimilar albums. And like other rare, extra-interesting bands, Deftones elude classification and repeatedly outdo their, ahem, peers. Also, they have a killer drummer and an unobtrusive, artful guitarist (he’s so guitartful), a combo that ensures a ripping live show.

But what wows me about this band in 2010 is their handling of prolonged, agonizing tragedy. By shelving their near-completed sixth album, Eros, they seem to express a certainty of the day in the future where all of its authors will ably engage in its promotion and performance. For now, what guitarist Stephen Carpenter calls a whole “different Deftones” is enjoying a top-ten debut for the slim, slamming Diamond Eyes, a bonkers Fall tour with two other tweener juggernauts (Alice In Chains, Mastodon), and a healthy relationship with producer Nick Raskulinecz (Rush, Coheed And Cambria). Carpenter called back to Los Angeles from New York and spoke to Metal Sucks about both Deftones, weird talk radio, and the steamy night we shared in Milwaukee.

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So, yes, Alice in Chains are recording a new album with new singer William DuVall. And, yes, it’s hard to accept the idea of AIC without Layne Staley. But in DuVall’s defense, Vince and I have seen him perform with the Men in the Box not once, not twice, but three times, and while he’s no Staley, he’s pretty frickin’ cool.

So. It would have been nice to see the band reunited with Dave Jerden, who produced their first two (and, in my not so humble opinion, their two best) albums, Facelift and Dirt. But they’ve gone with Nick Raskulinecz instead. Raskulinecz is “in” right now (he’s produced the Foo Fighters, Shadows Fall, Trivium, Death Angel, Velvet Relover, etc.), which is not to say he’s bad; in point of fact, the only thing I have against the dude is that I have to look up the proper way to spell his name each and every time I wanna write about him. If only this was the Sunset Strip in ’86 and he’d changed his name to Nikki Rakkett, life would be so much easier. Sigh.

And if these guys can still muster even an ounce of the magic they captured in their heyday, a 2009 Alice in Chains record could be this generation’s Back in Black.

Then again, it will probably suck.

-AR

So yesterday Trivium posted a new “from the studio” video update in which they focused on the fact that they aren’t relying on ProTools trickery as much during the recording process of their new album Shogun. I’ve written about this at length before… But it’s kind of sad just how much bands rely on ProTools shenanigans to record these days. Most modern metal records have the snare and bass drums sound-replaced with pre-recorded sample, and errant hits are moved so that they line up with a grid. Parts of different takes are cut together instead of having to play the whole thing correctly (for every instrument). Guitars are recorded clean and then “re-amped” during the mixing process.

The fact that Trivium are taking a more natural (relatively) approach this time around is good news, but the fact that this is newsworthy is crazy. If you really wanted to make a natural record you’d do it live in one take with all the band members standing in a room together. This will never happen, nor would Roadrunner allow it to. Nor am I convinced the result would be good if this happened. But, I guess for Trivium it’s a step in the right direction. Heafy and co. are proficient enough musicians, and with Nick Raskulinecz behind the boards I’m sure the result will be great from a sonic standpoint. Though I’m convinced their shoddy drummer is going to have problems.

-VN