Change (In the House of Flies)

"Change (In the House of Flies)" is a deeply metaphorical song exploring themes of transformation, control, and the deterioration of a relationship. Vocalist Chino Moreno has explained that the song is about witnessing a negative change in someone, which can be interpreted in various ways. One common interpretation is observing a loved one—be it a partner or a friend—descend into a different, uglier version of themselves, perhaps due to substance abuse, emotional trauma, or the dynamics of a toxic relationship. The fly in the title serves as a powerful metaphor for this degradation, turning someone once seen as beautiful or angelic ('it's like you never had wings') into a pest or something insignificant.

Moreno himself described the song's genesis in a more personal, self-critical light, stating, 'It spawns from me being a complete a--hole and getting the complete repercussion for it by having my life taken away.' This suggests a narrative of a protagonist who actively participates in the other person's downfall ('I pulled off your wings, then I laughed'), exerting control and dominance, only to be consumed by guilt and a desire for their own annihilation ('Give you the gun, blow me away'). Therefore, the song is not just about observing change, but about causing it and grappling with the horrific consequences. Some listeners also draw parallels to the 1986 horror film 'The Fly,' where a scientist's transformation into a grotesque creature is watched helplessly by his lover.

The narrative begins with the speaker as a passive observer, witnessing a profound and disturbing transformation in someone they know. This person, once familiar, begins to change into something alien and insect-like, described specifically as a fly. The speaker is so unsettled by this metamorphosis that they have to look away, only to see that the person is now metaphorically 'on fire,' consumed by this new state of being. This change is depicted as a complete alteration of their essence; it’s as if they never possessed 'wings,' or their original, perhaps more innocent or angelic, nature. Paradoxically, in this new, debased form, the person seems to feel more 'alive' than ever before.

The story takes a darker, more active turn as the speaker’s role shifts from a mere witness to a participant in the person's subjugation. The speaker takes this newly transformed individual 'home,' an act that implies a sense of possession or control. They place the person 'on the glass,' like a captured specimen under observation. In a moment of cruel power, the speaker 'pulled off your wings, then I laughed.' This act is the physical manifestation of stripping away the person's freedom, potential, or former identity, and finding a twisted sense of amusement in their powerlessness. The repetition of watching this change underscores the speaker's fixation on the process, reiterating the loss of the person's original self and their strange vitality in this new state.

The climax of the narrative brings the speaker's internal conflict and guilt to the forefront. They glance at a cross, a symbol of redemption and sacrifice, but quickly look away, unable or unwilling to find solace or face judgment. This moment of spiritual crisis leads to a final, desperate act. The speaker hands the gun to the person they have tormented. This gesture, 'Give you the gun, blow me away,' is an abdication of control and a plea for an end. It is a moment of profound self-loathing, where the speaker, having orchestrated the other's ruin, now sees their own destruction as the only possible repercussion. The song concludes by reiterating the central theme: the irreversible change, the loss of innocence, and the strange, unsettling life that emerges from the wreckage of a former self.

"Change (In the House of Flies)" was a pivotal song in the creation of Deftones' critically acclaimed third album, White Pony (2000). The song was written collaboratively and emerged organically from a jam session that lasted about half an hour. According to frontman Chino Moreno, he and guitarist Stephen Carpenter were playing guitar riffs when keyboardist Frank Delgado added his parts, followed by the rest of the band. Drummer Abe Cunningham recalled it as a moment where everything just 'came out freely' and the band began to truly function as a cohesive unit. This was a significant development, as the White Pony sessions were the longest the band had spent on an album at that point, with much of the initial time spent struggling to write.

The album also marked the first time Chino Moreno contributed guitar parts to the writing process, expanding the band's sonic palette. Frank Delgado, having previously been a featured guest, joined as a full-time member for this album, and his atmospheric electronics became a key component of the song's distinctive sound. The band, along with producer Terry Date, recorded the album between August and December 1999 in Sausalito and West Hollywood, California. Despite pressure from their label, Maverick Records, to release a more aggressive, rap-rock-oriented first single, the band fought for "Change" to lead the album's promotion, believing it was the best and most representative track.

The song's structure largely forgoes a conventional, strict rhyme scheme, opting for a more free-verse approach that prioritizes lyrical flow and emotional weight over formal constraints. The repetition of key phrases serves as a lyrical anchor instead of end rhymes. For example, the recurring line 'I watched you change' acts as a powerful refrain that structures the song. The rhythm of the lyrics is delivered in a fluid, almost conversational way during the verses, mirroring the track's slow, deliberate musical pace.

Musically, "Change (In the House of Flies)" is characterized by its slow-building tempo and rhythmic complexity. The song operates at a relatively slow pace, creating a moody and deliberate feel. The drum work by Abe Cunningham is foundational, providing a steady, hypnotic pulse in the verses that explodes with greater force and complexity in the choruses, driving the dynamic shift. The interplay between the restrained rhythm of the verses and the powerful, crashing cymbals and forceful hits of the chorus is key to the song's emotional impact. This rhythmic journey from quiet unease to intense catharsis perfectly complements the lyrical themes of a slow, creeping transformation that culminates in a dramatic and violent realization.

"Change (In the House of Flies)" is renowned for its masterful blend of literary and musical techniques that create its unique, atmospheric dread.

Musical Techniques:

• Dynamic Contrast: The song is a classic example of the 'quiet-loud' dynamic. It builds from sparse, mournful verses with breathy vocals into an explosive, heavily distorted, yet melodic chorus. This contrast creates a sense of immense tension and release.
• Atmospheric Instrumentation: Frank Delgado's keyboards and ambient samples are crucial, layering the track with eerie, dreamlike textures that contribute to its unsettling atmosphere. These electronic elements, sometimes dissonant, create an unstable, haunting soundscape.
• Vocal Delivery: Chino Moreno's vocal performance is central to the song's emotional arc. His delivery shifts from a sultry, breathy, almost whispered tone in the verses to a powerful, soaring, and desperate cry in the choruses, embodying the song's mix of sinister control and emotional anguish.
• Guitar and Bass: The song opens with a distinctive, mournful guitar riff. Stephen Carpenter's heavy, distorted guitar in the chorus provides immense power, while Chi Cheng's creeping bassline underpins the verses with a sense of unease.

Literary Techniques:

• Extended Metaphor: The entire song functions as an extended metaphor for a negative transformation, using the imagery of a person turning into a fly to explore themes of decay and control.
• Symbolism: The lyrics are rich with symbolic imagery, such as wings, the cross, and the gun, which add layers of meaning related to freedom, guilt, and retribution.
• Abstract Lyrics: The lyrics are deliberately abstract and open to interpretation, a hallmark of Moreno's writing style. This forces the listener to engage with the imagery and emotion rather than a straightforward narrative.

"Change (In the House of Flies)" is arguably Deftones' most well-known and commercially successful single, leaving a significant cultural footprint. Released on May 16, 2000, it became the band's highest-charting single in the US, peaking at number 3 on Billboard's Alternative Airplay chart and number 9 on the Mainstream Rock chart. Its popularity was boosted by early, unauthorized airplay from radio stations that downloaded the track from the file-sharing service Napster.

The song is widely regarded as a modern rock classic and a defining track of the early 21st century's alternative metal scene. It marked a significant evolution in the band's sound, moving away from pure nu-metal towards a more experimental, atmospheric style often described as the 'Radiohead of metal'. The song's iconic music video, directed by Liz Friedlander, depicted the band at a surreal, indulgent party and became a staple on music television. The song's moody and cinematic quality led to its inclusion in various media, most notably the soundtrack for the 2002 film 'Queen of the Damned'. Its enduring legacy is also evident in its influence on other bands; British metalcore group Architects, for instance, released a well-received cover in 2019 for Spotify Singles.

The song is built around powerful and unsettling symbolism, primarily the metaphor of a person transforming into a fly.

• The Fly: The fly is a central, multifaceted symbol. It represents a process of dehumanization and decay. The speaker watches someone they once knew change into something seen as a pest—unclean, insignificant, and drawn to decay. This metamorphosis signifies a profoundly negative transformation of character, personality, or soul.
• Wings: The lyrics 'It's like you never had wings' and 'I pulled off your wings' carry significant weight. Wings typically symbolize freedom, innocence, potential, or an angelic quality. To say someone 'never had wings' suggests their new, debased state feels so natural it erases any memory of their former, purer self. The act of pulling the wings off is a direct and cruel metaphor for stripping someone of their freedom, power, and essence, making them captive and broken.
• The Cross: The brief mention of the cross ('I look at the cross, then I look away') is a potent symbol of guilt and a rejected path to redemption. The speaker acknowledges a symbol of salvation and morality but is unable or unwilling to face it, highlighting their awareness of their own transgression and their place outside of grace.
• The Gun: The act of giving the transformed person a gun ('Give you the gun, blow me away') symbolizes the culmination of the speaker's guilt and self-loathing. It is a surrender of power and a plea for punishment, suggesting that the only escape from the horror they've participated in (or created) is their own destruction at the hands of the person they've wronged.

The most prominent recurring motif in "Change (In the House of Flies)" is the central lyrical phrase and theme: 'I watched you change.' This line appears in every major section of the song, acting as a haunting refrain that underscores the narrator's obsessive observation of the transformation. Its repetition emphasizes the feeling of being a witness to a slow, inevitable decay.

Another crucial recurring motif is the imagery of wings. The line 'It's like you never had wings' follows each declaration of having watched the change. This juxtaposition highlights the completeness of the negative transformation, suggesting the person's original, 'angelic' or free state has been entirely erased. The explicit act of 'pull[ing] off your wings' is a singular, violent event, but the memory of it reverberates through the repeated motif, cementing the themes of lost freedom and cruel control.

The metamorphosis into a fly is the song's core conceptual motif. This imagery is established in the first line and colors the entire narrative, framing the observed 'change' as something grotesque, dehumanizing, and insectile. This motif transforms what could be a simple song about a breakup or a falling out into a piece of gothic horror.

Finally, the phrase 'Now you feel so alive' is a recurring, ironic motif that adds a layer of psychological complexity. It suggests that this new, debased state has brought a perverse sense of vitality to the subject, a disturbing paradox that enhances the song's sinister and tragic atmosphere.