During a recent appearance on “The Jasta Show,” Sergio Vega (Quicksand) further discussed his departure from Deftones. The bassist says the split “was never about money,” adding that it was “purely about belonging.”
Vega said the following:
“On a creative level, they were always super open and super cool. And really, when we talk about the other end, the financial end, which is something that I get, you’re Chino [Moreno, DEFTONES singer] and you have dependents, you have a lot of family, and [if] things go [to] a five-way split [from] a four-way split, it changes things and that’s something that impacts your life. So the financial shift and the financial swing becomes something that’s hard to reckon with. But for me, even in my position and my asks or negotiations were never speaking to that. Not that it was even possible. Being on half of the band’s catalog, you’re not ever going to see money from things you’re not a part of. But it was never even about money. Because even the publishing was there; that’s fine. It’s purely about belonging; it’s purely about just wanting to [feel] like you’re in it.”
“At the beginning, I was up for anything. I was just, like, ‘My friends are in trouble, and I just wanna help.’ My thing was, ‘Whatever you need I got.’ If it was to be, ‘Hey, play these bass lines. We got this thing.’ I’m, like, ‘Yeah. Cool.’ Being a hired gun, there’s no room for creative input — that’s fine. That would have been a thing, and you wrap your head around that. Initially, my only goal was to put my best foot forward and be a help to people in need and people that I cared about. And it was only because of the way that it was presented to me as, ‘This is how it’s gonna go down,’ where something that I started to go, ‘Hey…'”
He also added:
“This was a perennial thing. This was something that would come up, ‘Hey, guys.’ ‘Okay, cool. We’re really happy with the status quo.’ And it was never about money. It was always, like, ‘Here’s another raise.’ I was, like, ‘It’s not about that.’ And it was something that I think is a misconception, like I’m trying to bring a contractual change during a pandemic. I’m not.
Part of this weird dynamic was that having a dual kind of role in a sense of being a core and key writer, arranger and collaborator but also being someone who’s being paid on a salary created a dissonance. And not for myself, but for the whole thing. And so it’d be, like, hey, you’re home and you’re getting paid. But I’m, like, these are the parameters that I’ve been trying to change. I just wanna be in the same boat. Not about equal money or anything, but when times are good, times are good. When there’s income, we can draw from it. When there’s no income, you just hold on to your thing.
It was never about money and it was never about any of that. It was just about literally being in the same situation so that it didn’t create these opportunities for dissonance, where it was, like, ‘Oh, you’re doing this, but we’re paying you while you’re doing this.’ I got a call that was, like, ‘We’re hemorrhaging a lot of money on storage space and you.’ And I was, like, ‘That’s my problem. I’m compared to a storage space. I’m a line item.’ It’s not the money. It’s just the dynamic. So it wasn’t me asking for anything during the pandemic; it was the contract being canceled, which is their right. And then I was, like, ‘Okay, cool. This doesn’t work for anybody. We can finally address a total restructure.’ But at the end of the day, we weren’t able to really come to terms on that. So that’s fine. Basically, everything that I had said in [my initial video] statement is what kind of happened. And I totally understand their position. But mine is I have to respect my situation and my position as well, that it wasn’t something that… having that dissonance, for lack of a better word, was something that was pervasive, and it was something that ultimately was affecting me mentally as well.”