While best known on the charts and MTV for singles "Change (In the House of Flies)" and the bastard child afterthought "Back to School (Mini Maggit)" - which was crammed in at the behest of their label - the real meat of White Pony lies in a trio of late-album cuts that kicks off with the searing "Knife Prty," electrified by Rodleen Getsic's terrifying vocals at the close, and extends with the brutal "Korea," which features one of Moreno's most head-caving screams ever put to tape. Bridging their beginnings with what was to come, White Pony placated the hardened metalheads with ripping ragers like "Feiticeira," "Street Carp," and the Grammy-winning "Elite," while expanding their horizons with the midtempo lurch of "Rx Queen" (featuring an uncredited Scott Weiland on vocals) and the haunted haze of "Digital Bath." Whether loud or soft, violent or tender, each track on White Pony serves melody and mood in droves, resulting in the kind of album that is instantly recognizable as a conscious leveling-up. The result was an artistic breakthrough, one that not only signaled a new direction for the band but also - for better or worse - cemented itself as arguably their finest work. Taking steps away from the hip-hop swagger, rote riffs, and unpolished youthfulness of their early work, the band delved into their sonic toy chest, experimenting with atmosphere and effects, tightening their songcraft, and boosting Chino Moreno's pure singing vocals. Vaulting from genre favorites to the big leagues, Californian alt-metal outfit Deftones went from being the cool kid's nu-metal band of choice to a mainstream force with their seminal third album, White Pony.
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