“We were renting this Mustang 5.0 convertible that was hideous, like bright yellow. “After we’d leave the studio at night, we’d take the rough mix of whatever song we were working on,” Moreno continues. There was some push and pull, but sonically, I realized things started to come together with ‘Digital Bath.'” “Like people assume that because Stephen looks like the most metal guy in the band, that he only listens to metal… but he listens to mellow music too. “We all had the same idea, but different ways of going about it,” says Moreno of the process. In shaping their definitive hybrid sound, Deftones married their heavy metal roots with other influential sounds of the Eighties and Nineties, drawing from shoegaze, industrial, trip-hop and electronica. “We’re gonna need to get on taking off Spotify,” he added in jest - or not. “With the reissue, we’re going with the original version, as we intended it to be,” said Moreno. However, their contentious rap-metal single, “Back to School (Mini Maggit),” was a song they wrote and tacked on to a second edition of the album, at the behest of their label Maverick. The California metal pioneers’ eclectic taste - as well as their ability to alchemize seemingly disparate sounds - is what made White Pony’s release a turning point in American metal, which in the year 2000, had been commercially engulfed by rap-rock and its variants.
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