Deftones guitarist Stephen Carpenter, in a recent podcast appearance, addressed the leak of the band's shelved 2008 album 'Eros' and the demos from their 2020 album 'Ohms'. This leak, which has since been taken down, highlights a recurring issue for the band. Carpenter acknowledges that every record of theirs since 'White Pony' has leaked, a reality he finds inevitable in the digital age.
In his own words, Carpenter states, 'I don't know if it's been scraped from the internet or not, and I don't know to what extent it's leaked, but every record of ours since 'White Pony' has leaked. It happens.' This statement underscores a broader trend in the music industry, where digital accessibility and the ease of sharing content online have made leaks a common occurrence.
The guitarist also comments on the presence of these leaked tracks on YouTube, stating, 'They've been on YouTube though for a long time, that's how I listen to them.' This observation raises questions about the impact of digital platforms on the dissemination and consumption of music. It suggests that while leaks can be detrimental to an artist's control over their work, they also provide a means for fans to access and engage with the music.
Carpenter's comments offer a nuanced perspective on the challenges and opportunities presented by digital leaks. While he acknowledges the frustration of losing control over the release of their music, he also recognizes the reality of the digital age, where content can be shared instantly and widely. This perspective is particularly relevant in an era where artists must navigate the complex relationship between creativity, control, and the ever-evolving digital landscape.
