If "Hole in the Earth" was the bridge, "Rapture" burns it. This track is a ferocious, fast-paced assault that showcases the band’s metallic roots. Abe Cunningham’s drumming is particularly frantic here, driving the song with a punk-rock intensity that contrasts sharply with the opening track.
In the pantheon of alternative metal, few bands have managed to evolve as distinctively and unpredictably as the Deftones. By the mid-2000s, the Sacramento quintet had already cemented their legacy with the nu-metal landmark Around the Fur and the atmospheric transcendence of White Pony . However, their fourth studio album, 2006’s Saturday Night Wrist , remains a unique anomaly in their discography. It is a record born of turmoil, isolation, and creative friction—a "fractured masterpiece" that nearly broke the band but ultimately produced some of the most adventurous music of their career.
Just as the listener settles into the dreamlike trance of the previous tracks, the band rips them back to reality. "Rats!Rats!Rats!" is one of the heaviest songs in the Deftones catalog. It is a frantic, screaming barrage of noise that serves as a jarring counterpoint to the album’s mid-section. saturday night wrist full album
The album opens with the lead single, a track that serves as a direct statement of the band’s internal conflict. Written about the rift between Moreno and his bandmates, the lyrics are candid: "You can't stop the real world." Musically, it bridges the gap between the accessibility of their self-titled album and the new experimental direction, featuring a soaring chorus and Stephen Carpenter’s signature heavy riffs.
This is where the album’s true personality emerges. "Beware" is a slow-burn epic, characterized by its watery guitars and hypnotic pace. It stretches over six minutes, building tension without ever exploding in the way early Deftones tracks would. It is a masterclass in atmosphere, showcasing Moreno’s ability to croon with a haunting fragility. If "Hole in the Earth" was the bridge, "Rapture" burns it
Continuing the cosmic, space-rock vibe, "Xerces" utilizes synthesizers and reverbed guitars to create a sense of vast emptiness. It is melancholic and grand, pushing the boundaries of what a "metal" band was supposed to sound like in 2006.
In a desperate bid to shake things up, the band entered the studio with legendary producer Bob Ezrin (known for his work with Pink Floyd, Alice Cooper, and KISS). The partnership was intended to bring a new level of discipline and grandeur to the record. However, the collaboration quickly soured. Ezrin’s regimented, classical approach clashed with the band’s jam-oriented, chaotic creative style. The sessions were eventually scrapped, and the band was left with a massive bill and a half-finished record, forcing them to start over with producer Shaun Lopez. The turbulence of the production is etched into the sonic DNA of the album. Unlike the warm, enveloping textures of White Pony , Saturday Night Wrist feels icy and distant. It captures the sound of a band imploding, utilizing space and dissonance in ways that were unsettling yet beautiful. In the pantheon of alternative metal, few bands
Perhaps the most controversial track on the album, "Pink Cellphone" is a collaboration with Annie Hardy of Giant Drag. It is an electronic, glitchy spoken-word piece that descends into bizarre, sexually
Often cited as a fan favorite, "Cherry Waves" encapsulates the dreamy, shoegaze aesthetic the band was chasing. The interplay between Chi Cheng’s driving basslines and the ethereal guitars creates a sonic duality—feeling as if one is drowning in slow motion. The vocal harmonies are some of the most lush the band ever recorded.