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Once Chi had his accident, everything came to a halt with the Eros sessions, so the idea of going back to that batch of songs, finishing them and have Sergio learn Chi's parts just hasn't felt like something that we're interested in doing. I had faith it was going to come together and be great in the end, but we never got to that point. ‘Some of the music was lacking a little bit. ‘Musically it’s probably 75 - 80% done and lyrically it was about halfway there, but honestly, I wasn't too happy with the material we had,’ he says. Moreno though seems resolute that, for the moment, it’s not a project the band will be returning to any time soon. Titled Eros, it has gained a fabled reputation amongst fans, with song titles, (including Smile, Melanie, Dallas and Destiny) instrumental demos and even what appear to be complete songs surfacing online. Enlisting ex-Quicksand bassist Segio Vega, the band scrapped sessions for the album they’d been working on with Cheng. The devastating car crash in November 2008 that left Chi Cheng, the band’s bassist since 1990, in a comatose state was a rude awakening that forced the rest of the band to take stock and re-evaluate. Sadly it took a tragedy like Chi's accident to put things in perspective for us and that was what brought us back together and re-connected us.’ That’s the essence of creating, when you're bouncing ideas off one another, and we were missing that in those dark days.
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Collaborating is what it’s about, reacting to what someone else is doing. One of the most important things about making music is collaborating, I have no interest in making music by myself, it's just not exciting to me. I felt that way for a while and I lost interest in making music because of it. Everybody was coming in and doing their parts separately and it was up to me to come and make sense of them and turn them into songs. ‘We definitely went through a point where our communication just broke down and we were phoning everything in. Moreno acknowledges that relations in the band have been strained in the past, identifying the aforementioned self-titled record and its follow-up, 2006’s Saturday Night Wrist, as two albums where the band weren’t always in sync, a period they collectively refer to as ‘the dark days’. If we didn’t have opposing opinions at times, some of the tension that's in the music wouldn't be as present and I think that's an important element to it.’ That compromise is there but at the same time, we’re all still very opinionated. In the end, we're going to do what's best for the song.
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‘We know how to work with each other now, we're better at solving problems. In fact, despite Carpenter’s initial reluctance at the direction some of the material was taking, Moreno says that the band have learned to collaborate together without tensions reaching a boiling point. Whilst it’s certainly one of the more cerebral records of the band’s career, Carpenter’s distinct seven-stringed stamp is present and correct throughout. It's been well over a year since the inception of some of these tunes, maybe a year and a half in some cases, so it’s good that people will finally be able to hear it.’įans fearful that Carpenter’s contributions to Gore will be limited to little more than delicate decoration need not worry. You start thinking ‘what would it sound like if this guy got his hands on it.’ So it was almost like an experiment. ‘We wanted to try different mixers,’ says Moreno, ‘all these different guys who've mixed records that we're fans of. Initial murmurings of the album appearing as early as September 2015 were quashed, as the release date slipped through the twilight of autumn and into the dawn of spring, but the reasons for delay were no great shakes. The band have a reputation for not working hastily and with three and a half years having passed since the release of their last album, Gore is no exception.
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The chemistry within the band is a sometimes fraught collaboration between 5 very strong-willed individuals, but it is this tension that is vital in the creation of the art they make, music that is at once both heavy and mellifluous. Like fellow Californian innovators Faith No More and Jane’s Addiction, their music is instantly recognisable. One of the quintessential alternative bands of the modern era, Deftones, are in a class entirely of their own.