Deftones: 'We Started To Reconnect More As Friends And As A Band'

artist: deftones date: 05/07/2010 category: interviews
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Deftones: 'We Started To Reconnect More As Friends And As A Band'
The Deftones' Chino Moreno, Frank Delgado, Abe Cunningham, and Sergio Vega are wandering around the Warner Bros. Records conference room. The small suite has been converted into a cozy little live production facility. There are a couple of digital cameras doing last-minute fine tunings for color; lights have been set up; and a couch backed by a couple of chairs has been arranged on a slightly-raised platform to accommodate the four musicians. The band has been through a lot of late and they're on the sprawling WB lot in Burbank, California to talk about it. Their longtime bass player Chi Cheng was the victim of a car accident that happened early in November 2008, a terrible moment that happened while the group was in the midst of recording an album. That album Eros was shelved and they began working on a new album with new bass player, Sergio Vega. That album titled Diamond Eyes was still several weeks away from being released [as of this interview] but a couple of tracks have been made available for download. The title song and "Rocket Skates" move respectively from the dark and melancholy to the low and murderous guitar riffs that have long been the twin sonic tails of the Sacramento-based group. Final adjustments are made to color and tint and the assembled throng crew, technicians, various Warner's staff quiet down. Cameras start to roll and capture the following. [Note: Some of the dialog is not represented here. At times, certain members of the band would talk over someone else and it was impossible to untangle every response. Also, Frank Delgado in particular spoke in a very quiet voice and some of his comments weren't legible on the cassette tape. However, you can hear every word everybody said so follow along closely and you won't miss a thing.] UG: Can you fill in the holes a little bit about Chi and what happened with the Eros record? Did you actually have the record completed when Chi got hurt? Can you just fill us in? Chino: Sure. Umm, well, we started making a record [when] we got off tour; this was probably about three years ago. We went in the studio; we actually were having a good time in there makin' a record. We were probably at about six months, a little more, workin' on it and I was just about finished with vocals so we still have a little bit of work to do on it. I still had a few more songs to sing on but it was nearing a completion. Frank: We had started just gathering our ideas and stuff like that. Chino: Yeah, and Chi had his accident. So at that point we kind of just stepped back from the whole record [and] the recording process for a minute. I did cause it was pretty much my part and, um, we just took some time off. It was probably a good maybe four months or so before we actually all got back together [where] all the band were in the same room after Chi's accident. When we did get in the same room together, you know, I kinda had this idea of recording a whole new record but I kinda, kinda, kinda presented it as, Hey, why don't we just write some, after all this stuff goin' on why don't we just dig our heads and write some more songs? You know what I mean? So that was the initial thing is to kinda go in and just write some more. But, uh, it kinda just once we got together, Sergio came in the picture and everybody just gravitated towards their instruments. I mean we didn't really talk too much at that point like, Yo, we should really do this and we should [do that.] We didn't really plan stuff too much other than you know everybody just kinda got their instruments and started playing. And from that point on we started writing music. And, uh, and it started to go really well and it was really fast and really inspired and really therapeutic for us. And, uh, it was probably another good couple months and we had pretty much a record's worth of material written. So And so with Sergio in the band, I mean, this new batch of songs really felt like it was a step forward from where Eros was? Did that material now feel a little ? Chino: Not necessarily. I think the Eros sessions, I mean I think there's really great music in there. I think it's a kind of a, it's a portrait of that time, you know what I mean? That time period and like I said there was a lot of good times in it, you know. The band, I think, really started to reconnect, you know. The last record, the Saturday Night Wrist, was, uh, it was well documented it was a kind of a tough process makin' that record; really pieced together. All of us, our communication wasn't that strong, and, um, and uh, but after touring on that record, I really think that we all kind of, you know, we all kind of started to mend our relationships. Not that they were really broken but, you know, just started to reconnect more as friends and as a band. And so, I think we were really tight, you know, during that time of making that Eros stuff. I mean we'd come in our regiment wasn't that good still. We still come into the studio, we work pretty late hours, and we'd go and we'd play poker for hours together or play Risk and we had a lot of fun, you know. Like, guy time, you know what I mean some more. You know what I mean? So our work ethic wasn't that dialed up but, uh, really as friends we were really having a good time makin' that record. So I look back at it musically, it's great and it's special for what it is at that time. I think when Chi's accident happened though for me mentally, I felt like I wanted that time period to be over. You know what I mean? His accident kinda, kinda was connected to that time though for some reason and I kinda, I wanted to, to, you know, I wanted to, to, kind of come of come out of it you know what I mean? And uh, you know, I think just like I said it was very therapeutic for us to start working on something fresh and new from that point. You know what I mean? So with Sergio in the band, did you want to get back to the way you had recorded on earlier records? A little more organic and everybody facing each other? Chino: Sort of; definitely. I mean you know that was kinda the idea when we went into even record Eros you know. Which we kinda did. This one was a lot more streamlined. And I mean like I said our work ethic was really good on this. Once we started actually writing with Sergio, we rented a little rehearsal space down here in Burbank actually and we pretty much, um, we'd go in like I think at noon everyday and end at eight. So pretty much eight hours there and the whole time we were actually, you know, working. You know what I mean? To have a tight schedule like that, to be start[ing] at this time and end at this time, the time we were there we wanted to make it Sergio: Make the most of it, yeah. Chino: Yeah, and it was. We had like nine songs, I think in like, I forget, like really fast; like the first couple weeks we were just like writing songs. We were just so excited you know what I mean? Everyday you'd come in excited you know what I mean? And then Nick [Raskulinecz], our producer, he'd give us even homework you know what I mean. Just like, Hey, we need a bridge for this section here or whatever. Take home a guitar Frank: Right, come back with ideas. Chino: So, the next day you wake up in the morning, have some coffee, and we didn't have to be in until noon. So you still have your morning you know what I mean? It really felt like for me for the first time that I was kinda living a structured life. Being in a band you kinda make your own and I felt like I'd been doing that for the last 20 years of my life. You know just kind of doing what I want, when I want you know. So to have that regiment you know what I mean actually helped me focus you know on this. Right. You talk about Nick coming and kind of not replacing Terry [Date, previous producer] but Nick is now out there doing his thing. What did you think that Nick would bring to the band that you guys maybe didn't think Terry could bring? Or did you just want to try something new? Chino: Yeah, it wasn't so much that, umm, see we've never done pre-production with a producer. Like even with Terry, he would come in, I think he'd hear like a couple things but he never, he wasn't with us the whole like the whole time. I think, he'd come in like I think, like two weeks like before we'd probably were goin' into the studio to record to hear the songs whatever. But this was a completely different experience having Nick in there with us while we were writing stuff. So, we'd start playing and Sergio: he'd document.

"I can't say really when but you know we'd obviously have to revisit Eros and finish working on it."

Chino: He'd be there with us documenting and if we were onto something he'd stop us. And be like, OK, this section is great [and] walk up to everybody. It really helped us communicate and put our ideas and make them make sense to us before we'd just end up on an endless jam. Sergio: Right, and start driftin'. Right, right. Chino: Start drifting which is what we've done. If you put us in a room, you know what I mean, for a while, and you know a lot of times we'll kinda get lost in music. And you know, we've got in and out of so many ideas and if it's not documented it is what it was. You know what I mean? And you never come back to it. I know you guys did the Saturday Night Wrist record with Chino: Bob Ezrin. Bob Ezrin. And I've interviewed Stephen a couple of times and I know he wasn't a real big fan of Bob's at the end of the day. I know that he's kind of a Terry Date guy Chino: Yeah. [And] Stephen was into having Nick. You enjoyed working with Bob? Chino: No; it was a tough thing but it wasn't so much you know now when I look back at it I really realize that Bob had a lot to deal with with us. Cause at that time like I said, makin' that Saturday Night Wrist record we were a pretty dysfunctional band. Abe: We were in no condition to make a record. It was a really good record though. Chino: I think it was for exactly for what we put into it we got out of it. You know what I mean? I think the good parts are good because we were putting that into it. And a lot of times it was like, you know, it was really, that record was really pieced together. You know? It was recorded over such a long period of time in different places. Some of the stuff was recorded in Malibu; some of it was recorded in Sacramento at our studio there; some of it was recorded in Connecticut. You know what I mean? Vocally I recorded it all over the place so it was really pieced together. And the end product, you know what I mean, for what we went through to make of it, I think it turned out good. But, uh, this record was so much more immediate, you know what I mean? A process. It's like: we're there; someone has an idea. Here's my idea over your idea and then we just start building. And it's happening right, um, very immediate. So, I think it makes it honest, too, because you know what I mean, you don't have a bunch of time to sit around and just like you know, you know Abe: Overthink. Chino: Overthink stuff. It's just like you're feeling it, you're in the mode, and then you lay it down. And the record has a whole really cohesive feel I think because of that. You talk about a cohesive feel, Chino, I mean Diamond Eyes is the title track and one of the first songs we've heard. Is that telling us as an audience and fans what we can expect on the rest of this record? Chino: Kind of but not really. I mean I think it's a good representation because it has the dynamics I think that we're kinda known for. Where it has the heavy kind of, uh, agitated riff but it also has a soothing like rhythm and a just like a lushness to it you know. And I think that we do those things well you know. That's kind of our dichotomy I guess, that word, that we like to present you know what I mean in our songwriting. So this record does have a lot of that but you know there are some songs that are a lot more loose. There are some songs that are a little bit more you know, um, time [challenged.] There's a lot of different stuff. It's a good thing to be able to hear the whole record you know what I mean cause it's very dynamic. [Note: When this interview took place, the Diamond Eyes album had not yet been released.] Sergio: It think what it does, it does represent the energy and the efficiency of the record. Like how just like it's, it has a vibrancy and I think all the songs do whether they're the heaviest of them or they're the mellowest. They all feel like they pump and they have like life to them. Sergio, what did it feel like playing with these guys on record for the first time? Was it a seamless kind of insertion? Certainly you were aware of what Chi had done on previous records. Was it listening to what he did and trying to take it forward? Was it not listening to what he did? Sergio: Nah, I mean I listened to what he did on a daily basis practicing to songs on the records and stuff. But for doing this it was really the excitement of off the immediacy of just having my life turned upside down and playing with people that I really have dug for a really long time and have been friends with for a long time. And there was just a lot of energy and we just got in and just did what we do, you know, just made music. And we were all very diverse in what we would do and come up with and the environment was very supportive. And so in terms of like what was happening, there wasn't thought to it but there was just a lot of energy behind it. And just a lot of like really appreciating it; you know you're hyper aware of it because there was just a lot of adrenalin because you're so excited. So every moment felt like it was like brilliant. You know just like in terms of it being wattage. You know it was just like you're there and you're amped. Abe, can you talk about what it was like playing with Sergio? How it might have been different than playing with Chi? Abe: Umm, yeah, I mean definitely. Like you asked if it was seamless, I was about to jump right off of that and say, Yes, it was. Um, yeah, I've always loved his playing in the previous bands he was in especially Quicksand was a huge, you know, band I love to this day. And he had played before with us; he had filled in actually about a decade, a little over a decade ago, for Chi for a couple weeks on tour. And it was just, we had known each other before; our bands had been on tour before too so it was just an awesome thing. It's different, of course it's different; it's a different person but it's similar in many ways too. We just been lockin' it; it's been really cool. I have this dude that's hangin' back with me. I think it's just where we're all at in terms of just livin' life and bein' you know aging; you know, figuring things out. And, uh, I just appreciate the music and not takin' it for granted. All the old songs, our old catalog, our back catalog, we're goin' through and some of the songs haven't played in quite some time. We're just like we're really getting down to the nitty gritty of it all and it's given me a whole new spark and a whole new appreciation for what we've done. It's a whole renewal, man, and it just feels great. That's cool. I was reading that you're kind of a fan of some of the more classic guys: Mitch [Mitchell] and Ginger Baker Abe: Oh, yeah. and those kind of guys. Do you ever try to bring any sense of the classic thing into this new thing and find this thing that you do? Bringing in these elements of these other drummers? Abe: Umm, you know what? It's weird. I mean I think when we first started years ago we got together and I was way, this is what I did and how I did it. And I think like I said just having done it for a while, our sound is, my sound is just was a Deftones sound I think now after all these years you know. But of course there's always gonna be a little something in there you know [where] you hear something and you run it through your ears and hopefully your heart and you're influenced by things. Rather than you can easily just pick something and take it but it's best to run it through your heart. You know what I mean? And hopefully then that's where it becomes yours. So over the years I think my whole thing is It's a Deftones thing you know what I mean? But, uh, on this record there was actually a song called You've Seen the Butcher has a little bit of that in it. Oh, really. Abe: Maybe some I don't know it's just got more of a 60s/'70s groove if you will. And, uh, but yeah, man. Cool. Frank, can you talk a little bit about being a keyboard player in a band like this? I was listening to the two songs and I can hear strains of keyboard back there. Is it difficult working in keyboards and synths in a band like this so it doesn't sound artificial and being seamless and working with the guitars and playing off the guitars? How do you approach a song when it's presented to you? Frank: I came into this band as a DJ and I always approached the early songs trying to create sort of soundscapes and my main goal was to be more a part of a song as I could. And that was trying to create melodies, harmonies within the song and maybe not through a song and maybe not just at a certain point of a song like in the breakdown. So from that that just led to me to having and trying to figure out how I could expand my sound. There's one good thing about this band: it's that it's always taken all of our influences and created their own sound. I've tried to fit that in with my soundscaping; with electronic sounds; and add to it. Sometimes it's hard, man. If there's an open groove, it's a little easier than maybe some of our lush songs; it's hard to find a place to fit it. But I think I've made it work for us with heavy guitars and keyboards and patches and pad sounds. It gives an atmosphere and stuff; textures. [Note: Frank Delgado talks at some length here. Because I was forced to place my cassette player some distance away so it didn't interfere with the cameras, it is pretty difficult to make out what he is saying. But if you watch the video, you'll be able to hear the complete excerpt.] So it is a bit of trial and error and going through different sounds? Frank: Sometimes it just doesn't fit you know. [Note: Again, due to the distance of where my tape player was set up and because Frank speaks pretty quietly, a lot of what he has said here didn't make it to top. But you can hear it on the video.] Cool. Yeah, you touched on something earlier when I interviewed Stephen, his quote: I think ultimately when it comes to music, the five of us really don't want it to be any specific style of music. We don't sit there trying to write metal songs and go, Oh, this'll be a love song or something.' I think that's what really identifies this band maybe and sets them a little apart from some of these other bands. These diverse influences and funneling that through this strange Deftones psyche. Chino: For better or worse, I think whenever we make an album or write songs, it really is just what it is at that time. Sergio: There's not any really formula. It is trial and error; it always starts with some inspiration you know what I mean? Once there's more than two of us inspired by a certain sound everybody starts to gravitate towards it. It just happens.

"There's one good thing about this band: it's that it's always taken all of our influences and created their own sound."

I see. Let's talk about Rocket Skates there's the big, Stephen's 8-string guitar riff. Did he come in with that? Did you hear that and start putting melodies over it? Chino: He played it jamming. Stephen's funny he says it and I always laughed about it but he's kinda right. That he says, Every time I pick up my guitar I write a song. You know what I mean? Sometimes I'll be like, Man, why don't you write a song? And he'll be like, Every time I pick up my guitar I write a song. But he kinda does. If you really have to sit and listen cause sometimes it just sounds like straight noise. You know he's just nyaggghgghgggh. And, uh, you know what I mean? But if you're really sittin' there payin' attention, he'll be playin' like you know a lot of times he'll write something and then he won't go back to it. So unless you were paying attention to it, you know what I mean? And that's exactly what classic would happen with Rocket Skates. Nick was paying attention. I wasn't you know what I mean? And he goes, Listen to that what you just played. You know what I mean? And he played it back for him and Steph whatever and right then we just started building on it. Boom! And I think in a couple hours the whole structure of that was laid out. So that's where Nick's ears come in. Chino: Yeah, definitely. Abe: I mean the process was such a breeze. I mean he came in and threw up a simple, threw up some mics on the drums and just had a simple setup for recording and recorded the whole process. But he would go home at night and just mark points but he would encourage us and normally that's what we would do anyways. But this time he was actually documenting it so he would come back in and we'd go on and if we were ever stuck he would say, Play this section and I was like, That was tight. So the process was a breeze, man. Very, very productive. And Diamond Eyes like you were talking about Chino is really this heavy thing meets these melodic choruses. The arrangement of the song is pretty strange: it's like a verse, no B section, a chorus, verse, no B section, chorus, verse, chorus; this little weird breakdown thing. Is that you just thinking in a linear fashion? Has the music dictated that? It's so kind of anti-song structure but it makes it so very cool and works so kind of flawlessly. I'm just wondering where the arrangements come from. Is that a lot of tweaking and banging on parts to get em together? Chino: Not really; I mean it's actually the opposite of that. I think everything just kind of fell into place; everything just fell in the grooves you know. I think the way I thought about it was not, Let's put the chorus here; let's put the verse there. I think I felt like Anytime you're waiting for this to happen and then you hear it? Oh, it's the payoff. You know what I mean. It's like building em up and then releasing em, letting it go, and bringing it down. Our whole record to me there's not a minute to me where I feel like, Oh, this part goes on a little bit too long. I feel like everything and that's the whole way we looked at every song. And now when I listen to the whole record, I really feel like, wow, there's not a minute where my mind starts wandering and I start thinking about something else. It always keeps your attention you know what I mean? So I looked at it that way just puttin' markers in the music like that and not so much structuring. OK, we have to have a chorus here and a verse here. When you just said that arrangement to me, I was just like boggled because, Is that how it is? I don't know; it might be but I didn't even know that. We're trying to figure out the time signature too on that one; we're havin' a little bit of a discussion. Oh, yeah, it's pretty weird. Chino: A debate on that one. Abe: It's a waltz! And there's some keyboards in there, Frank. Sergio: There's a lot of keyboards; all along the choruses the keyboards are really upfront actually. Frank: A lot of filtering and stuff. I use a lot of KAOSS pedals on that song for the flowing sound and pads. Yeah, during the choruses and stuff. Chino, do you play any guitars on the album? Chino: Yeah, I think on three or four songs. Titles? Chino: "Royal," "976[Evil]," "Beauty School," and "Sextape." Are you and Stephen sitting there tossing back guitar ideas? Is Stephen showing you a riff and you finding a complementary part? Sergio: No, we're all jamming in the room. It's like the five of us in there just bangin' [and] whoever has the hot hand, everyone falls in and Nick is recording everything. And if it gets cold, Nick says, Here's a riff; this is what you did yesterday. And then in an extreme thing, he would mash together riffs. He would remember like, Yeah, you were doin' this and actually that would work with that. Because Rocket Skates came from two components that he was like, That was would sound hot with this and then the next thing you know you're sparked with three more riffs and your song is done. And he would just never let anything be cold and when it was hot, he'd be running around with a drum stick and he'd just like come up to you, to wherever he felt the energy needed to be drawn to. So if he felt like somebody was doing something excellent, he'd go by Chino and start rockin' and then your eyes would be there and you'd see what he was doing. And you'd know to play off of that more. And he was very like naturally kind of like steering things in a way but like really showing you yourself the entire time. Interesting. Sergio: He's awesome. The dropped tunings obviously is a big part of what you do and what the band does with the sound and everything. Again, do you and Stephen talk about tunings? Does it get that specific? Chino: No, he says with his 8-string guitar he can match anything that I'm playing. And he does. He played that one guitar in that one tuning on every song on this record and I play one song in E, our standard I think; one song in dropped-C. Yeah, my tunings change all throughout on every song. Sergio: We all make three different tunings; we all play in different tunings. There's only a couple of times where Chino and I are in the same tuning but sometimes he'll be in standard, I'll be in C or C#. Chino: It's all pretty random you know what I mean. We didn't say, We're gonna put this song and write it in this thing. Although sometimes I ask, What bass do you have? but it didn't really matter cause if I picked up a guitar and I started coming up with an idea sometimes I had to transpose things to whatever. It's kinda just, If it sounded good and you had that guitar on you know what I mean, the next time we go to play that song, pick up that guitar. Do you think the dropped tunings and everybody playing in different tunings, do you think that has informed your songwriting? The way you would come to a vocal melody and nothing in A440 and these kind of weird notes flying around? Do you think maybe that's shaped how you approach melodies? Chino: Yeah, I mean, you know, I don't know exactly what the math is on that and how it works out. But I know it's kind of a feeling thing you know what I mean? It's pretty much going with your gut instinct you know what I mean? And that's what I do you know what I mean? The sound would inspire something to come out melodically. And I noticed that in doing that, in singing earlier on while we were writing the songs, it really helped spark like maybe what Stephen would go to what his next riff would be. You know what I mean? Whereas he'd write; put all his riffs together. In the past, he'd put all his riffs together and then the music would be there and then I'd put the vocals over it. Then I have to kinda try to fit the vocal in you know what I mean? This way, I'd write a vocal part over each part you know what I mean and then so it was just a different way of building it. Frank: It was good for us too as a band because we had never really, we had always done the vocals later. You know where he's taking it next and it changes how I'm gonna play something. Cause before it would kinda suck where just like he said we'd write the song to what we thought would get the most emotion out of just the instrumental track alone. And then he'd have to fit into it after he's already done some vocal thing. Yeah, I wish I would have known he was goin' there you know what I mean. So, it was really cool, man. Interesting. Chino, you touched a little bit before that sometimes you and Stephen might butt heads a little bit. Chino: Mmm hmm. You look at bands and think about bands like the Who and Daltrey and Townshend who were forever butting heads. And Steve Perry and Joe Perry and Steve Tyler I guess what I'm trying to say is I think maybe a little bit of that is good. Chino: Yeah, I think so.

"We have a good time, man, and that's the whole thing no matter where we're at."

You can hear it in the music and I think a lot of bands feed on that. Frank: Yeah, I agree as long as it's not destructive. You know what I mean? At times our communication has broken down with everybody. That's part of being in a band after so many years. Being in a band is actually just trying to work through those things. Chino: It's really not, it's really not that bad you know what I mean. I didn't mean to imply that it was. Chino: No, no , no, no, no. But I think a lot of people like you know cause it's pretty well documented that him and I often see like Abe: like two rounds. Frank: He likes to paint that picture a lot too. Chino: He does but the thing is he's Sergio: I never even Chino: Stephen, he loves like so much of the same stuff you know what I mean? He probably listens to Depeche Mode more than I do you know what I mean? Like straight up you know what I mean? Frank: Yeah, that's true. Chino: And he likes, he writes a lot of the melodic stuff too which is kind of interesting. You know like Frank: He is stubborn and he puts his foot down a lot on things that he probably necessarily shouldn't. But it's made us figure out how we work around that and I think he's come around on our end too. But I mean the lower his tuning's got, I think we're getting better at making that work for us. And it's creating a crazy sound for us you know what I mean which we've been touching on. But I mean we're getting better every time we do it. It's interesting you bring that up because yeah, I mean, you're right, it's not the easiest thing to write musical parts around this real low Frank: It's crazy, man. Chino: His hands are only this big so he can't really go he's not gonna get a 12-string guitar next. Yeah, in fact, he had said, I don't even use the lowest strings. Chino: Right. You guys think that you will release Eros at some point? Chino: Yeah, definitely. Um, and I can't say really when but you know we'd obviously have to revisit it and finish working on it. I mean there's stuff that needs to be done. But I think when the time feels right to do it, we will definitely. Because like I said earlier there's really great stuff on it. And it was kind of a, I think it was a little more experimental I think for us. There's a lot of really, really kind of spacey stuff on that. Stephen was getting really, I think that's when he first got his 8-string guitar and he was playing a lot more like single-note stuff; like melodic things and things you know. So there's a lot of experimentation on that and I'm looking forward to revisiting it someday. Do you think in some respects you had to make Eros to get to Diamond Eyes? Chino: Possible; quite possible you know. Do you think there were any ideas that appeared on Eros that sort of got refined or morphed into [Diamond Eyes?] Chino: I don't know; not really. For some reason it's just a different record you know what I mean? And I think when people hear it they'll realize that, Wow, it's a different record. [Note: Frank adds some salient remarks but the tape player didn't pick them up. You can by watching this though.] Sergio: We had a song on our second rehearsal. Which song was that? Sergio: "Royal." You guys are playing Rock on the Range on May 22nd. Slash, Seether, Killswitch, Mastodon, Limp Bizkit, Coheed do you guys feel a musical camaraderie with these bands? Chino: I don't think necessarily. I don't really know too much about most of the bands but it's a radio show you know what I mean? And we're not really, we haven't really been too, I don't know, I mean we're not really that big of a radio band I guess you could say you know what I mean? So, uh, I always felt like more of an underground sensation. But, uh, I don't know, it will be cool, man. Abe: We have a good time, man, and that's the whole thing no matter where we're at. But a gig like that playing with these bands, these are kind of the best of the best. It must be fulfilling to have arrived at this level. Chino: No, it'll be good, man. We're excited to play any show. The fact that people want to see us you know what I mean? We're hungry to play; we're hungry right now more than we've been in a long time. And then you guys play Donington which must be pretty cool? Chino: That's always awesome; that's huge. Megadeth and Lamb of God. Chino: Yeah, some good stuff on there. So at the end of the day, you guys look back at Diamond Eyes and you had to go through this terrible thing with your bass player and getting over some records that maybe were a little harder to make. You sit back and look at Diamond Eyes and you go, Yeah, this is what we wanted to do; this is where we wanted to be at and we captured these things in the songwriting and the playing and Sergio's inclusion. It all feels right for you guys? Chino: Yeah. It kinda just happened on us and this is what we made of it you know what I mean? We came in and it just happened you know what I mean. Everything kind of fell in place I should say you know what I mean? And, um, it still is you know what I mean? And, uh, from the shows coming up to everything, you know, just the level of excitement that we have and we're just eager to do it. Cool; that's great. Thanks so much, guys. [combined] Thank you. Interview by Steven Rosen Ultimate-Guitar.Com 2010
Watch the Deftones video interview in two parts here: Part 1, Part 2
More deftones interviews:
+ UG Special: Exclusive Interview With Deftones Interviews 09/26/2012
+ Deftones: 'There's More Of A Melodic Side' On New Album Interviews 10/25/2008
+ Stephen Carpenter: Deftones Guitarist Grooves On Saturday Night Interviews 08/25/2007
+ Deftones Guitarist: 'I Will Smoke Weed Till The Day I Die' Interviews 11/09/2006
+ Deftones Guitarist Stephen Carpenter: 'We're Family' Interviews 11/08/2005
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