Deftones in space

Allmusic.com is, by far, one of the best music information resources available anywhere. However, its main page on the Deftones -- on the band's sound, on its influences -- is absurdly out of date. "Along with Limp Bizkit," the band's biography starts off, "the Deftones are often considered to be disciples of Korn, but in fact, they've been around for just as long (if not longer)." Ouch.\nThe fact is that since, at least, 2000's White Pony, the Deftones have deserved much more credit regarding the quality of their art -- and, while hardly rock perfection, Saturday Night Wrist only reinforces this. For one thing, the album has about as much in common with Korn and Limp Bizkit as Fred Durst has with, well, anyone with talent. Rather than rap-rock or nü-metal (shudder), think chilly space rock with a few shards of screamy, poundy metal jutting out of it -- much of Saturday Night is more akin to the proggier bands straddling the indie/alt-rock border (...And You Will Know Us By The Trail Of Dead, Muse, Doves, Mars Volta) than the mainstream metal with which the Deftones are often associated. And, yet, despite its arty moments, the album stays fairly accessible, generally avoiding the eye-rolling pretension that afflicts other prog devotees (I'm looking at you, Mars Volta).\nNot to say everything's hunky-dory. For one thing, Saturday Night suffers from a classic space rock problem -- there's so much emphasis on atmosphere and texture and pan-album cohesion, that much of it blends together into a blur that rocks pleasantly, but isn't all that memorable. To employ a music critic cliché: it's easy to like, but not to love. This draws emphasis to the songs that are the furthest from the overall vibe -- the thrashers "Rapture" and "Rats! Rats! Rats!" and the experimental "Pink Cellphone." Of these, "Rats! Rats! Rats!" is by far the best. Lead vocalist Chino Moreno screeches at you to "Decide! Decide!" while the band hammers away furiously -- interspersing a couple of melodic pauses that last just long enough to make the listener feel blasted when the band returns with double the rage. "Rapture" is likewise suited to head-banging, but is more straightforward and less inspired. On the other hand, with its literally phoned-in spoken vocals by Giant Drag's Annie Hardy, "Pink Cellphone" doesn't really work -- it's the one truly "bad-prog" moment on the album.\nLastly, the Deftones deserve credit for titling their mid-album instrumental "U,U,D,D,L,R,L,R,A,B,Select,Start". If only the song matched the initial thrill of tackling "Contra" with 30 extra lives. Sigh.