• Record Label: Maverick
  • Release Date: Oct 31, 2006

Generally favorable reviews - based on 18 Critic Reviews

Critic score distribution:
  1. Positive: 12 out of 18
  2. Negative: 0 out of 18
  1. Alternative Press
    Saturday Night Wrist proves yet again that Deftones have a corner on the transcendental-metal market. [Dec 2006, p.192]
  2. If you’ve even the slightest interest in ‘heavy’ music, you simply must make Saturday Night Wrist an integral part of your record collection.
  3. The album is mostly a heady, atmospheric, willfully too-difficult-for-radio wash of sound that, save for a handful of tracks, stretches out and explores Deftones' creative limits more than ever before.
  4. Wrist is yet another excellent record from mainstream hard rock's only real hope.
  5. Entertainment Weekly
    Boasts some of the Deftones' best out-and-out metal tunes to date. [3 Nov 2006, p.76]
  6. Features the kind of envelope-pushing fans have come to expect.
  7. The New York Times
    After a long apprenticeship, Deftones have started to sound like their own band: one that seesaws between agonized crooning and hard-rock attack, within songs as well as through albums. [30 Oct 2006]
  8. Their most well-rounded, focused record yet, one that comes scarily close to besting White Pony while heading in a slightly different direction at the same time.
  9. The songwriting never quite comes together, but this is a metal record that gets by as much on sonic tricks as monster riffs.
  10. New Musical Express (NME)
    ['Wrist'] sees [Deftones] continue to explore that hazy hinterland, where The Smiths' sensitivity and Sepultura's sledgehammer riffs overlap. [28 Oct 2006, p.35]
  11. Ultimately, Saturday Night Wrist is satisfying, though it may take a few listens given all the changes in individual cuts that tend to blur together the first time or two through.
  12. Saturday Night Wrist continues the Deftones’ sad trend, another album of scattered transcendent moments in a field of attention-getting parlour tricks, still eagerly tugging at the listener’s sleeve to say, "Listen to this sound we created!"
  13. Billboard
    For most of "Saturday Night Wrist," Deftones contentedly let their instruments wander, inventing a meandering soundscape that broods in near darkness. [4 Nov 2006]
  14. Uncut
    A record that feels massive without tipping into bombast. [Nov 2006, p.106]
  15. Spin
    A sideways step in the right direction. [Nov 2006, p.97]
  16. Blender
    The Deftones' fifth album turns the dial to "statesmen." [Dec 2006, p.172]
  17. When the Deftones are successful, they seem to slow down time, expanding on floating moments of doubt and mystery. When they’re not busy getting bogged down in all those mini-moments, dragging the album through dread patches of sluggishness that is.
  18. Q Magazine
    There's little of the fire and invention that characterised 2000's White Pony. [Nov 2006, p.140]
User Score

Universal acclaim- based on 123 Ratings

User score distribution:
  1. Negative: 2 out of 123
  1. ColinD
    Nov 1, 2006
    Truely a amazing work of artistic structure and brilliance. This entire record is playing at my funeral when my time is done.
  2. Jul 11, 2018
    The most experimental Deftones' album. The elements that highlighted the band are still here. As a unity, the album is better thanThe most experimental Deftones' album. The elements that highlighted the band are still here. As a unity, the album is better than Self-titled, but the second one has songs more striking that the which are in this album. A high point is the production about the drum sound (drums that which are amazing about its lines, full of groove and turns). The songs are more melancholics and oneiric if compared with previous albums.
    Deftones delivers a great piece again. A worthy farewell by Chi Cheng in his last musical contribution.
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  3. Jun 24, 2016
    This album took a while to get used to. I struggled to find a connection to the music early on and therefore this album was subject toThis album took a while to get used to. I struggled to find a connection to the music early on and therefore this album was subject to multiple listens. Following their 2003 self titled release, one will notice that S.N.W. is not nearly as heavy. By Deftones standards it's not that heavy at all. I have always thought of Deftones sound as being "atmospheric" and that certainly holds true with this record. Songs such as Kim Dracula and Mein come to mind with their drawn out chords and steady drum beats to maintain the aforementioned characteristic. As usual Chino's lyrics remain dark and ambiguous allowing the listener to interpret the song in many ways; but he seems to be doing too much.

    Chino's voice sounds altered and not as authentic as it does in other releases (perhaps there was some studio magic that influenced this) his screams seem forced and unnatural. That aside his singing does remain taut and controlled. As a listener you really can feel the pain and discontent in his voice. Every song as an "eerie" almost doomed feeling to it which I would attribute to Chino's vocals. With more singing and less screaming many of the songs sound almost euphoric as well, this in turn works in its favor.

    With this album I kept waiting for some simple chords that I couldn't help but bang my head to, e.g. songs such as Hexagram or Elite. I just couldn't find that within this album, Rats! Rats! Rats! comes close but remains too sporadic and uncontrolled. The apparent musical experimentation takes away from the sinister and edgy sound that many have come to know and love from this band. There is a certain brutality missing in this album that was so vital to the other records.

    Overall I think this album offers a nice change for listeners and it certainly shows the direction the band is heading in especially with their later releases. I love all Deftones records but this album and those that followed still lack the energy of the others. While not my favorite it's still a good album by a great band.
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