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Inlay from “White Pony” by Deftones


Deftones are a 5 piece rock group originating from Sacramento, California. Consisting of Chino Moreno (vocals, guitars), Stephen Carpenter (guitars), Chi Cheng (bass, vocals), Abe Cunningham (drums) and Frank Delegado (turntables) they fuse together a blend of high octane metal and emotional hardcore resulting in a unique signature style all of their own. To date they have released three albums Adrenaline, Around the Fur, White Pony (from which this inlay is taken) with a new self titled album being released soon. They tend to focus on themes relating to love and relationships, friendship and human nature. Coming from a large city but having deep roots within family and regarding friendship as very important they have a sense of grounded balance to their musical output. Whilst the lyrics are at some times ambiguous they never fail to be powerful and aggressive and always convey the point in a forceful manner.


The double image shown is in fact two separate 1 x 1 cm compositions, so I will analyse each separately and relate at the end of this analysis. The panel on the left features Chino Moreno, eyes blocked with a crude black mark, his hand covering his mouth. Personally, I feel this is trying to convey disguise; it is as if he is hiding from what he is seeing all around him, his hand stopping him from commenting. This creates a sense of powerlessness and desperation as he cannot physically express what he needs to. Text is used creatively and frequently. “Deftones” is sprawling up the right hand side, obscured by Chino’s figure. The use of layering and partial words again conveys the sense of not being able to fully express something. The interesting angle of the lettering on the left hand side adds an obscure perspective which makes the piece fragile, especially as a variety of effects have been used to metamorphose the text, including the Chinese symbols. In addition, the structure has tried to be restated through what looks like scaffolding in the top left hand corner. Although it is very faint, there is a paragraph of text placed underneath the rest of the composition. It is only really apparent towards the bottom but this emergence of text suggests the revealing of a message. We may not be able to actually decipher it but it symbolises that the message of the piece (and the music) lies buried within a more bold statement.


The right hand panel seems less convoluted in its presentation but is just as ambiguous in its meaning. Again the theme of disguise is reiterated through the standing figure of Chino Moreno. The top of his face is not seen so we cannot see his expression, at least not through his eyes. A phrase that strikes me whilst looking at this piece is “see no evil, hear no evil, speak no evil”. If his eyes are always blocked he cannot see what is around him and with his hand covering his mouth he cannot be heard. The contrasting element of “visual noise” within the piece is fascinating. As the piece on the left is crowded it could be defined as noisy, but the piece on the right has an eerie calm and silence about it as it is full of large areas of texture. Chino’s figure is static and looks expressionless; this is expressed through the numbers at the bottom. It is as if he is void of feeling, he can be symbolised through something as lifeless as a number, or rather the artist is simply reflecting the emotionally void world that surrounds him. The background structure is interesting, it seems very vertical but the texture of it evolves as it moves from side to side. The sprawling lines seem somewhat aggressive as they have a disregard for the structure beneath them.


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Together the pieces create a contrasting sense of light and dark but they both seem to have a sense of promoting the music and the band without necessary promoting themselves as individuals. This is stated through the repeated use of “deftones” and the hidden faces in the two pieces.





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