Deftones’ Stephen Carpenter has shared a guitar playthrough video for the band’s song “Engine No. 9.“ That track appears on the group’s 1995 album “Adrenaline.”
Deftones’ Stephen Carpenter has shared a guitar playthrough video for the band’s song “Engine No. 9.“ That track appears on the group’s 1995 album “Adrenaline.”
Deftones’ Stephen Carpenter will be sitting out the band’s upcoming European/UK tour. The guitarist commented:
“As much as I would love to be on the road with my brothers, playing for all of our incredible international fans, I have decided to remain playing domestically for now. With everything going on in the world, I’m just not ready to leave home and leave the country yet.I wish I can see each and every one of you, but for now, our good friend from Sacramento, Lance, will be fulfilling my duties. Although I’m watching from afar, I’ll be there in spirit with my Deftones family. “
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.”
Deftones have booked a small show at the O2 Forum Kentish Town in London, UK. The event will be held on June 13 and it will also feature an opening set from Grandson.
Here’s the band’s updated European/UK schedule:
06/04 Nürburg, GER – Nürburgring (‘Rock am Ring‘)
06/05 Nuremberg, GER – Zeppelinfield (‘Rock im Park‘)
06/07 Zurich, SWI – X-TRA
06/09 Lyon, FRA – Fourviere Nights
06/11 Donington Park, UK – Download Festival
06/13 London, UK – O2 Forum Kentish Town (feat. Grandson)
06/17 Clisson, FRA – Hellfest Open Air
06/18 Landgraaf, NET – Pinkpop Festival
06/19 Dessel, BEL – Graspop Metal Meeting
06/21 Bologna, ITA – Sequoie Music Park
06/22 Zagreb, CRO – INmusic Festival
06/24 Budapest, HUN – Budapest Park
06/26 Hamburg, GER – edel-optics.de Arena
06/27 Berlin, GER – Verti Music Hall
06/29 Viveiro, SPA – Resurrection Fest
07/02 Seinajoki, FIN – Provinssi Festival
07/03 Helsinki, FIN – Tuska Open Air
07/05 Stockholm, SWE – Grona Lund
07/07 Madrid, SPA – Mad Cool Festival
07/13 Katowice, POL – Metal Hammer Festival
07/13-17 Cluj-Napoca, ROM – Electric Castle Festival
Deftones’ Stephen Carpenter has shared a guitar playthrough video for the band’s song “Elite.“ That track appears on the group’s 2000 album “White Pony.”
Deftones’ Stephen Carpenter has shared a guitar playthrough video for the band’s song “Lifter.“ That track appears on the group’s 1995 album “Adrenaline.”
Deftones’ Stephen Carpenter has shared a guitar playthrough video for the band’s song “One Weak.“ That track appears on the group’s 1995 album “Adrenaline.”
As previously reported, Esmé Bianco is currently suing Marilyn Manson, aka Brian Warner, after accusing the singer of sexual assault and human trafficking. Now, according to Rolling Stone, the actress has leveled more allegations against him, saying that he pressured Deftones into removing footage of her from their current tour.
Bianco’s lawyers said the following about Deftones scrapping the footage in a recent legal filing:
“In exchange for providing her images, Ms. Bianco expected an economic benefit from significant public exposure via the band’s worldwide tour and the opportunity to continue working with the highly sought-after creative director who oversaw the project.”
Bianco also commented:
“[Manson] flipped out and was having a complete meltdown about the fact that I was working with Deftones and … they decided to cut my footage.”
The document went on to say that Manson “used his power and influence in the entertainment industry to interfere with Ms. Bianco’s ability to continue working with Deftones.”
“By continuing to threaten my career opportunities, Warner again demonstrates that even amidst criminal investigation and civil litigation he will stop at nothing in an attempt to silence his victims. The complicity of those who enable these intimidation tactics demonstrates why survivors are so hesitant to come forward. If those who hold power to stand up to abusers choose not to, survivors will stand alone.”
As previously reported, Manson is currently facing abuse allegations from at least 16 women. Those accusations were initially spurred by actress Evan Rachel Wood, who said that the musician “horrifically abused [her] for years.” Since then many more women have come forward with allegations against the singer, including Bianco, actress Bianca Allaine, who described him as the “most terrifying person [she has] ever met in [her] life,” actress/model Ashley Morgan Smithline, who filed a lawsuit after being sexually assaulted and abused multiple times, his former assistant Ashley Walters, who filed a lawsuit against him for sexual assault, sexual battery, sexual harassment, intentional infliction of emotional distress, etc., and another woman, identified as “Jane Doe,” who filed a lawsuit after accusing him of rape and death threats.
For his part, Manson has continued to deny the allegations and has even filed a defamation suit against Wood and her significant other Illma Gore. However, Wood has since commented on the lawsuit, saying that she is confident that she has the truth on her side.
Deftones’ Stephen Carpenter has shared a guitar playthrough video for the band’s song “Hole In The Earth.“ That track appears on the group’s 2006 album “Saturday Night Wrist.”
During a recent interview with “Talk Toomey,” Sergio Vega (Quicksand) further discussed his departure from Deftones. Notably, the bassist also discussed a new project he is currently working on.
Vega had the following to say about his time in Deftones [transcribed by The PRP]:
“I had come into the band during a very traumatic time. And we also have a history from ’95. To reiterate that, we became acquainted in ’95. I had filled-in for Chi [Cheng, late Deftones bassist/vocalist] in ’99. Chi and I had become friends… He was playing Fender basses because he saw me kicking one across the stage with Quicksand.
We both shared an energy and catharsis that we brought to shows… And that created a bond. And when I filled-in for him in ’99—he had hurt his toe—bringing that energy and that excitement, having his back, having his band’s back.
And then at one point Chino [Moreno, Deftones vocalist/guitarist] comes to me and was like ‘Hey, if we asked you to join the band, what would you say?’ [I responded] ‘I would tell you that Chi is your boy. This is fun and exciting, Chi is your boy, roll with Chi and that’s gonna be great.’
…And in 2009 when the tragedy happened, the fact that we had hit it off when I filled-in before kind of informed the fact that ‘Hey, lets call him. He’s our friend, he’s there and we’re in need.
So I came in during something very traumatic with Chi. I came into an album, ya know, “Eros“, which was kind of unfinished. My understanding was that the label [Maverick] wasn’t planning on releasing it. They weren’t excited about it. We were just gonna kind of part ways with the label.
But Nick [Raskulinecz, producer] came into the picture and somehow the severance money went on to fund ‘Diamond Eyes‘. And, so let’s give it another shot with another record. And all of that energy, and some altruality and trauma was all expressed in that creating what it was.
Now when I came into the band, I was open to whatever. My friends were in need. ‘What do you guys need? Do you want me to play bass? Do you want me to play banjo? Do you want me to do whatever… and they were like ‘Hey, what you brought in Quicksand, what you did, we’re not entirely sure, but we love Quicksand. Chi loved Quicksand. We want to bring you into the band over time. And this is how it worked with Frank [Delgado, programmer/turntablist] and this is how it’s gonna work with you.’
And so I brought my writing, my arranging and myself. And that was it. And so over the years, it started to become like ‘Hey I would really like to belong to this,’ and whenever it would come up, it was really more like they were good with the status quo.
It was not financial, because they were like, ‘Oh, here’s more money, here’s a raise.’ It was never about money, it was about a sense of belonging. So that was really it. And ultimately, in parting ways, it was not a function of me trying to renegotiate during the pandemic.
It was a function of the contract being cancelled. And me having a little conversation with Chino, and then another conversation with a couple of the guys saying ‘hey’ when they wanted to reinstate [the contract.]
I was like, I think the path forward is that we can all be in the same boat. Now would be the time to get off this type of structure. Because it’s not really working for anybody, especially now when we’re not touring, we’re not doing anything. And it doesn’t make sense to have this type of structure, it has been twelve years [since Vega joined the band] at this point and let’s make good on that.
…We don’t have to work it out now, I just can’t… I just can’t go onto the salary thing because it’s not working for us. And that was it. We really couldn’t come back on that.
In my last conversation it was clear that while that was the initial roadmap, this is what’s gonna happen. Which was the conditions that I was kind of trying to see through.
It became clear that… ‘Hey, splitting it four ways, how that impacted my life…’ Ya know Chino has a lot of… You have people that you’re supporting and those things impact their life.
So, it’s like that can make people shift off a position or off of a thing. So it was clear that I was doing everything on my end to get that. But I was like, at the end of the day, for me it’s not about money.
And the way I think that it may not be clear to some people is that, being brought into something as a member vs. [being] a hired gun doesn’t necessarily mean I’m all of a sudden seeing money from ‘White Pony‘.
It’s really like you said earlier. It’s the security and stability of feeling like you’re a part of something that you’re investing in, and belonging. To me the keyword is this feeling that you belong. Something that you’re pouring yourself into.
Now, had it been from the get go—’this is the vibe, this it the help that we need’—then that’s cool… So for me it was bit of hearing things like ‘Sergio is out of pocket’ [a comment reportedly made online by Chino Moreno regarding Sergio‘s exit] you know, ‘we fired him, it’s about money.’ It was never about money for me.
But at the end of the day, I guess the perception of it encroaching on anyone’s income could have been the thing that allowed it to not come together.”
He continued when asked if his contract allowed him to earn revenue from writing, recording, etc.:
“It’s more like the thing that I think was important to focus on, without getting too into the weeds, that it’s more the difference between everyone kind of being in the same boat so there’s no conflict of interest.
So when you belong to something, however that works, whatever the parameters are decided—because it’s open-ended. But that thing is if there’s thing’s happening, and we’re functioning, and there’s things coming in, then we can draw our living from that. If there’s not, you should make sure that you saved your money and been fine because that’s where you’re going to be drawing from.
And just getting this salary, is different. It creates a different dynamic. My thing was like, this doesn’t have to be… This weirdness during times when if we’re not functioning, it doesn’t speak to who we are and what we are.
And it’s just so much easier just to be whatever that is. Because having you all aligned takes things out of the equation and you just function and you go about your business. And you go about your friendship and creative aspects.
And ultimately it was me coming in, ‘Hey I want to help, how I help?’ [and them saying] here’s how it’s gonna be. And after a certain point I’m like ‘Hey, let’s make it how it’s supposed to be.’”
In other news, Vega also offered an update on his new project:
“…So basically in short, it’s a writing project with a friend of mine named Chris Enriquez, he plays drums in the band Spotlights. And what we’re doing is a single based project. You get with a singer, you talk a little bit about a vibe and we write a song together. And that’s it.
We write and record the song, we give it a little digital component—it was kind of inspired by an Argentine hip-hop producer, who has this series of songs that he does with a lot of artists. [It’s] mostly rappers and some singers, [he[ does a song, records it, that’s it. It’s a series. And the idea of building that as a modality in this kind of music was really, really exciting.
You don’t have the thing of trying to build the band. You don’t have to deal with the time conflicts with the people you may want to work with, it opens up a lot. So currently we have a song done. We have [another] one almost done. And then last week we started working on a track with Keith Buckley [ex-Every Time I Die singer].
…It’s super exciting because we got on the phone and we just talked about life. He, Chris and I had a quick FaceTime. We hadn’t met each other, obviously [we’re] well aware of each other. And we really, really hit it off. So it’s a rare time that I feel compelled to mention the person because of the situation.
Just the spark that came off of that. They did with the other projects as well. But it was just a thing of like ‘Oh my god.’ We talked, we hit it off, I picked up my guitar immediately and started tracking an idea based off our conversation.”