Review Summary: An often overlooked album, lumped into the nu-metal category, that reaches beyond the narrow confines of the genre.
This album emerged among a plethora of other bands that were actually bringing heavy 'music' back to the mainstream. Many say that grunge killed metal, when in fact, it only went underground and actually transformed into a genre that was taken much more seriously. If anything, grunge wiped out the hair-metal acts, while thrash, death metal, and the likes still fervently survived and became a form of music that took on (for the most part) a very serious nature and darker undertones.
However, a more evolved, commercial form of metal began to arise in the mid-90's, showing that audiences still craved some form of heavy music. Thus the birth of ‘nu-metal’, a term particular to the commercial aspects of the genre and the materialization of music that was heavier than grunge and alternative, but not as technical as such long-standing acts Metallica and Iron Maiden.
When the Deftones arrived on the scene, they were quickly lumped into the category already filling up with other acts like Limp Bizkit, Korn, and Sevendust. Which is a shame, when the public needs a quick generalization of music and record labels need a target market to sell their music to.
Around the Fur was the apex of The Deftone’s take on metal and the only record they released that was truly consistent in it’s extremity. Their following albums became more experimental, featuring heavy tracks, softer, more ‘alternative’ tracks, and a focus on keyboard based experimentation.
This review is fitting that this album was certified gold the year it came and out and finally went platinum in 2011. While Korn and Limp Bizkit were already going multi-platinum almost immediately, The Deftones drifted quietly under the radar, creating a rabid fan-base and showing much more diversity than their peers.
Around the Fur’s contribution to the music scene, offered a type of sincere unique quality that many of the bands of that era lacked. While the music on the album was fairly simple, consisting of solid riffs, consistent drumming, it did not yet show the full the maturity that would come about in the later albums. However, Chino Moreno did what Morrissey did for The Smiths. His sardonic lyrics, filled with topics ranging from sex, to God, to misogyny was something that none of the other bands were doing at the time.
Straying away from the ‘nu-metal’ whining that was attributed to the genre (et. Korn) he actually had something to say, although not always a clear-cut message, the lyrics offered something to dig into and there was more than just what was on the surface. Over the mix of the intense feel of the album (with apt assistance from Pantera producer Terry Date) was an even deeper mix of emotional complexity with an almost thoughtful and purposeful nature. Whether or not their music sounded just like everyone else’s at the time or not can be debated, Moreno’s vocals did not. He sang quietly, almost feminine, over menacing guitars, only to release agonizing screams that sounded as if he were shredding his vocal chords.
This set the stage for what was to come on later albums with even more experimentation and unusual vocal arrangements in their music. However, Around The Fur was their opening address to the public, their calling card that brought some well-deserved attention in the public eye. Whether intentional or not, they separated themselves from their peers, alienating some audiences while endearing themselves to their fans. They created something unique for that decade and this album still sounds fresh and relevant amidst the overabundance of mundane faux metal acts that continue to litter the airwaves today.
