Deftones - Black Stallion
More of a trot than a gallop…
For those of a certain age, the idea that *Deftones’* third album ‘White Pony’ has hit its 20th anniversary this year makes us feel like *Donovan rapidly aging at the end of The Last Crusade*. The band’s defining statement stands as a shining gem in an era where rock music had some angsty growing pains - and not in a good way. There aren’t too many metal LPs from the turn of the millennium that have stood the test of time, let alone be worthy of reassessment two decades later, but Deftones aren’t your usual band.
Hypnotic, experimental, and pissed off enough to engage teenage ears, the twelve tracks dropped in the summer of 2000 helped elevate the band’s status and saved them from the incoming tide of post-punk revival and emo acts that wiped out some contemporaries. Highlighting the band’s willingness to alter their sound, the idea for ‘Black Stallion’ can be traced back to Pony’s original release. Inspired by DJ Shadow’s trip-hop masterpiece ‘Entroducing…’, the band were keen to have the fellow Sacramento native remix the whole album, and now finally, they get their wish, albeit on one number.
The first thing that strikes you about ‘Black Stallion’ is track length, a few of the remixes being shorter than the originals, an oddity for this kind of project. To some, this will be a relief, but with numbers like the opening Feiticeira (Clams Casino remix), things feel rather like a taster than a main course. Shadows’ bash at ‘Digital Bath’ is similarly slight, but thanks to some haunting percussion and a nicely deconstructed chorus, it still satisfies.
Blanck Mass’s take on ‘Elite’ ups the ante, adding the kind of dark, chaotic energy that only this Brit can. It’s bruising, brooding, and suitably rocks. On the other end of the spectrum, you have The Cure’s Robert Smith dreamy mix of ‘Teenager.’ Considering some of the misfires he’s had remixing his band, Smith’s ethereal attempt is surprisingly subtle and features his rarely seen piano work.
Linkin Park’s Mike Shinoda tackles the Maynard James Keenan featuring ‘Passenger,’ leaning into a more expected EDM direction for the explosive vocal from Tool’s frontman. While the most traditional sounding rock-remix on offer, it doesn't do this fan-favorite a disservice. Squarepusher closes the set with his ten-minute glitch heavy ‘Pink Maggit.’ Of all eleven mixes, his sounds like he’s having the most fun, taking the original's DNA and then going absolutely ape-shit with it as a true Warp artist should.
It's no secret that remix albums are often tricky affairs, especially when meshed with beloved rock songs. Luckily everything off Pony's dark twin is enjoyable, if not essential sounding. Overall, it’s a fun curio worth exploring and saving a few of its more ambient moments.
*6/10 *
Words: *Sam Walker-Smart *
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