Five Years Later: Deftones Return with private music

Photo: Jimmy Fontaine

The wait is finally over. Deftones have broken their five-year silence with the release of their long-anticipated tenth album, private music. Their last outing, 2020’s Ohms (Reprise Records), carried the weight of the pandemic years with a brooding, introspective mood. Now, in 2025, the band offers a different kind of release: eleven tracks that shimmer with intensity while reflecting the turbulence of the present moment.

Produced alongside longtime collaborator Nick Raskulinecz, whose credits include Foo Fighters, Korn, and Alice in Chains, and who previously guided Diamond Eyes (2010) and Koi No Yokan (2012), the record was crafted between California and Nashville. Living up to its name, private music remained tightly guarded in the months leading up to release. Aside from a few teasers of artwork and the announced date, none of the songs surfaced live until this summer, when the band finally unveiled its lead single.

That first glimpse, “my mind is a mountain,” is a concise burst of shoegaze-infused heaviness. Just shy of three minutes, it channels the thick guitars, Moreno’s anguished yet soaring vocals, and relentless drumming that fans expect. Later in the tracklist, the explosive “milk of the madonna” (the album’s eighth cut) arrives with feedback-drenched intensity before erupting into ferocious choruses destined to become concert staples.

Much of private music wastes no time getting straight to the point. “locked club” charges forward on jagged riffs, while highlight “ecdysis” calls back to the band’s earlier days, falling somewhere between the raw urgency of their self-titled album and the polished edge of Diamond Eyes. Tracks like “infinite source,” “souvenir,” and “cXz” lean into lush atmospherics, layering dreamlike tones without losing the punch of hooks and percussion.

The record also offers softer, more reflective turns. “i think about you all the time” eases into balladic territory with hazy, almost romantic textures, while “cut hands” flips the script with searing vocals and unexpected rhythmic shifts. The penultimate “metal dream” veers into experimental soundscapes, yet still preserves the push-and-pull of heaviness and delicacy that has long defined Deftones’ style. Closing track “departing the wave” ties everything together, its buoyant rhythms and rising melodies sending the album off on a triumphant note.

Ultimately, private music underscores Deftones’ ability to continually evolve while staying true to their core identity. The album embraces shoegaze-inspired noise without abandoning the contrast of aggression and sensuality that has always set them apart. It’s a record that feels at once familiar and forward-looking, a reminder that even after three decades, Deftones are still pushing their sound into new terrain.

8/10