Korn Albums (9)
What The Critics Say
Middle-age malaise continues to plague Korn on their untitled eighth album, a plunge back into the dark dirges after a brief acoustic excursion on the spring 2007 placeholder MTV Unplugged. This is the true successor to the 2005 LP See You on the Other Side, where they jumped ship from Epic to Virgin and worked with the Matrix in an attempt to give the band an electronic makeover in the wake of the departure of Brian "Head" Welch, a move that didn't exactly endear them to their fans (maybe because along with the electronic flourishes came a lighter tone). Such frivolity is missing from the aggressively ugly Untitled, which immediately hits you over the head with spookiness, from the twisted malicious cartoon crows on the cover to the silly spectral carnival music that functions as an opening fanfare. That intro is an unwittingly goofy cliché, but so is Korn's roiling angst at this point, whether it materializes in their ominous minor-key grinds or in Jonathan Davis' lyrics. A virtual litany of ham-fisted histrionics ("God is gonna take me out," "It's a sickness in the gene pool," a chorus of "Killing/Killing/Killing"), those lyrics obscure any larger points Davis might (or might not) be trying to say, for it's the snatches of tortured prose that stand out, not his larger lyrical picture. Ironically, it's hard to deny that the bigger musical picture overwhelms the individual moments on Untitled, which is long on mood and short on gripping songs, or even memorable riffs. To a certain extent, this has always been true with Korn -- one of the signatures of alt-metal is that it's about sound rather than song -- but it's striking that even as the band adds some odd flourishes like vaguely Beatlesque Mellotron punctuating "Kiss," the songs blend together instead of standing apart. And even if they've retreated into darkness here, they haven't shaken the electronica fixation from See You on the Other Side -- although, admittedly, these flourishes aren't nearly as extreme as they would have been if they hadn't parted ways with the Matrix at the beginning of the project -- and this electronic bent is still apparent even if Untitled is a heavier record than its predecessor, thanks in part to the steady pulse of their partially borrowed rhythm section. Their regular drummer David Silveria has decided to sit this one out, so Korn have rotated Davis, Bad Religion's Brooks Wackerman, and Terry Bozzio (of all people) through the drummer's chair, giving the album just a shade too much professionalism in its rhythmic pulse. This, combined with layers of overdubbed baritone vocals and the elastic electronics that are meant to sound modern but wind up sounding like a relic from the mid-'90s, gives Untitled all the relevancy of an unrecorded bridge between Marilyn Manson's Antichrist Superstar and Mechanical Animals. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
What does a band do after teenage angst has paid off well, leaving them bored and old? In Korn's case, they turn to that evergreen bastion of respectability, MTV Unplugged. During the mid-'90s, it was standard practice for any major rock artist to venture onto the program and prove their worth as "authentic" musicians -- the old canard being that only real musicians and real songs can withstand the scrutiny of such unadorned arrangements, even if the arrangements by 1996 were becoming so ornate they barely passed as acoustic -- but by the turn of the decade the show fell out of fashion. It was revived every couple years by major artists in need of either a stopgap release or boost of energy -- Lauryn Hill's bizarre 2002 affair, Alicia Keys' perfectly respectable but uneventful 2005 set -- which pretty much described Korn to a tee in 2007. They were veterans slightly past their prime, still capable of reaching the Top Ten with their new albums but playing to an ever-more-selective audience, as they lurched toward reinvention without luring in new listeners or settling into their inevitable middle age. So, after the modest success of 2005's See You on the Other Side, it was time for an MTV Unplugged, a drastic move backward from the heavy hip-hop inflections of See You. If that was a party record designed to snare younger listeners, this is an album for the long-term fans who have been with them for nearly 15 years, who are also in their thirties and are inclined toward moodier, quieter material. At least that's the intention of Korn's MTV Unplugged, but in practice the record is a bit of an unholy mess for one simple reason: apart from Rage Against the Machine, there is no other '90s hard rock band as ill-suited to the stripped-back conceit of MTV Unplugged than Korn. It's not a question of authenticity, it's a question of aesthetic: without amplification, without electric beats and guitars, the band loses its identity and all its purpose. The guitars still spin out fast and furious, the basslines are still ropy and elastic, but they sound anemic when not run through high voltage; the band sounds like its playing electric guitars unplugged, not acoustic. Without walls of noise to support him, it's impossible to ignore how thin and reedy Jonathan Davis' voice is. At his best, Davis sounds coiled and nervy, giving voice to the torment his lyrics can't articulate, but in this setting, he sounds petulant, an adult who refuses to believe his adolescence is long behind him. Which is appropriate, since despite the very existence of this album, Korn does not acknowledge that they're now adults. Even their attempts to stretch out to new sounds are typical of tormented teens: they cover Radiohead's "Creep" and the Cure. These moves can't help but bring to mind other, defter new metal bands like the Deftones who assimilate the Cure's influence where Korn merely apes it. Worse still, inviting Evanescence's Amy Lee for a duet on "Freak on a Leash" only makes Korn seem uncomfortably close to such leaden '90s revivalists as Seether, a clear sign that this band is now adrift at sea and uncertain how to find their way back to land. ~ Stephen Thomas Erlewine, All Music Guide
'Take a Look in the Mirror'
Release Date 11/24/2003
Tracks 13
Label Epic
See Album Tracklist and Review
What The Critics Say
Just short of a decade into their incredibly successful and influential career, Korn went into Take a Look in the Mirror publicly stating their hopes to record a fresh-sounding album, a seemingly simple task that they somewhat ended up accomplishing. They needed a fresh album -- one that differed from their past couple, the similar-sounding Issues (1999) and Untouchables (2001), yet at the same time wouldn't alienate their notoriously fickle nu-metal fan base. Issues and Untouchables had been fine albums, but Korn definitely needed a change -- if they wanted to remain relevant, that is. There's a lot of turnover in the metal world because there's always the next big thing (whether it's thrash, grindcore, alt-metal, rap-metal, or whatever), and the rare bands that do last (like, say, Tool) do so because they keep changing and therefore retain the curiousity of their perpetually aging (and thus perpetually dwindling) fan base while at the same time drawing in new generations of listeners. It's a tricky business, really -- you need to keep changing yet still maintain your essence. And Korn does that very well on Take a Look in the Mirror, where they deftly consolidate their past strengths and self-produce a succinct album that sounds like trademark Korn -- yet purposefully doesn't sound like any Korn album to date. It's a little paradoxical, but that's precisely what makes Take a Look in the Mirror so interesting, especially for longtime fans. Particular songs draw from past Korn albums -- whether it's the ultramelodic Issues/Untouchables style of "Alive," the overt rap-metal Follow the Leader style of "Play Me," the covert rap-metal Life Is Peachy style of "Y'all Want a Single," or the seeing-red berserk Korn style of "Break Some Off" -- while a few highlights ("Right Now," "Counting on Me," "Did My Time") break into exciting new territory. And perhaps most importantly, Korn keeps Take a Look in the Mirror brief: a baker's dozen in 45 minutes if you don't count the hidden bonus track (their ADD-paced live version of "One" from MTV's Metallica comeback special). Because of the emphasis on brevity and variety (and especially quality), the album's over before you know it and you're left feeling hungry for more Korn. ~ Jason Birchmeier, All Music Guide
What The Critics Say
After a three-year break that included solo projects and soundtrack work, Korn's re-emergence in the summer of 2002 was met with great anticipation. They delivered Untouchables, an album that shows them building on their previous sound and emphasizing its strengths. The use of melody is more important than ever, allowing Jonathan Davis to utilize his wide palette of vocal tricks. His charismatic voice can now move from a clear-throated wail to a death metal growl with ease, lending the album a manic side that brings to mind King for a Day, Fool for a Lifetime-era Faith No More. The only problem with Davis is his lyrics, which tend to fall into the "am I going crazy" trap that many of Korn's contemporaries perpetuate. This is a shame, because here he often avoids the social issues that he confronted on the first few releases. The band is far more experimental this time out, delivering Helmet-like ringing guitars that melt and morph into each other, a mix of Metallica-esque blastbeats and tight funk drumming from the constantly improving David Silveria, and memorable riffs that take the shape of dark sound structures and offer more than just a collection of chords. In fact, it is the last point where the album sets itself apart from most nu-metal offerings; Korn understand that the overall sound of hip-hop works because of the sonic stew that producers create through samples. The band does the same with instruments, cutting the chugging riffs of the past and replacing them with edgy soundscapes that are equally as menacing. There isn't even a rapped verse here, save for Davis' rhythmic scatting at moments, further distancing the band from the scene it helped create. But by cutting away some of the fat and finding new ways to deliver their trademark roar, Korn manage to offer a strong and lean album that maintains their place as innovators in a genre with few leaders. ~ Bradley Torreano, All Music Guide
What The Critics Say
Released in the fall of 1999, when Korn were in danger of being overshadowed by such protégés as Limp Bizkit, Issues reaffirms the group's status as alt-metal leaders, illustrating that the true difference between Korn and their imitators is their mastery of sound. Korn are about nothing if not sound. Sure, Jonathan Davis doesn't merely toss off lyrics, but in the end, it doesn't matter since his voice and the various words that float to the surface simply enhance the mood. Similarly, the band doesn't really have any distinguished riffs or hooks -- everything each member contributes adds to the overall sound -- so, casual listeners can be forgiven if they think the songs sound the same, since not only do the tracks bleed into one other, the individual songs have no discernible high points. Each cut rises from the same dark sonic murk, occasionally surging forward with volume, power, and aggression. It's mood music -- songs don't matter, but the foreboding feeling and gloomy sounds do. To a certain extent, this has always been true of Korn albums, but it's particularly striking on Issues because they pull off a nifty trick of stripping their sound back to its bare essentials and expanding and rebuilding from that. They've decided to leave rap-metal to the likes of Limp Bizkit, since there is very little rapping or appropriation of hip-hop culture anywhere on Issues. By doing this, they have re-emphasized their skill as a band, and how they can find endless, often intriguing, variations on their core sound. Issues may not be the cathartic blast of anger their debut was, nor is it as adventurous as Follow the Leader, but it better showcases the sheer raw power of the band than either. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
More than anything, Korn are about sound. They write songs, but those wind up not being nearly as memorable as their lurching metallic hip-hop grind. They have yet to exhaust that sound, and that's why their third album, Follow the Leader, is an effective follow-up to their first two alt-metal landmarks. Not that it offers anything new -- it's the same sound, offered in a more focused forum than Life Is Peachy, but not sounding as fresh as Korn. In fact, it begins to wear a little thin toward the end of the album, but guitarists Head Welch and Munky Shaffer find enough tonal variations over the course of the album to keep it interesting, and vocalist Jonathan Davis nearly matches them with his cavalcade of voices. If the songs themselves don't leave much of an impression, it's because they're not supposed to -- they're simply vehicles for the metallic grind, which provides all the visceral rush any Korn fan needs. ~ Stephen Thomas Erlewine, All Music Guide
'Life Is Peachy'
Release Date 10/15/1996
Tracks 14
Label Immortal/Epic
See Album Tracklist and Review
What The Critics Say
With their second album, Life Is Peachy, Korn have enhanced their metallic influences, delving deeper into murky sonic textures and grinding, menacing rhythms straight out of underground black metal. Korn add enough elements of alternative rock song structure to make the music accessible to the masses, and their songwriting has continued to improve. Nevertheless, the band's main strength is their raging, visceral sound, which is far more memorable and effective than their songs. The riffs might not always catch hold, but the primal guitars and vocals always hit home. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
With little publicity, radio play, or MTV exposure, Korn took their eponymous 1994 debut to platinum status. Like all unexpected successes, it's easier to understand its popularity in retrospect. Although they disdain the "metal" label, there's no question that Korn are among the vanguard of post-grunge alt-metal outfits. Borrowing from Jane's Addiction, Rage Against the Machine, Pantera, Helmet, Faith No More, Anthrax, Public Enemy, and N.W.A, Korn developed a testosterone-fueled, ultra-aggressive metal-rap hybrid. They're relentless, both in their musical attack and in lead singer Jonathan Davis' bleak, violent lyrics. Tales of abuse and alienation run rampant throughout the record. It's often disturbing and, to some ears, even offensive, but their music can have a cathartic effect that makes up for their vulgarity and questionable lapses in taste. It's a powerful sound and one that actually builds on the funk-metal innovations of the late '80s/early '90s instead of merely replicating them. ~ Stephen Thomas Erlewine, All Music Guide
'See You on the Other Side'
Release Date 12/25/1949
Tracks 14
Label Virgin
See Album Tracklist and Review
What The Critics Say
Korn first talked reinvention with 2003's Take a Look in the Mirror. Self-produced, it was a muscular, effectively brief record that nodded in some intriguing new directions. After that they talked celebration -- 2004's greatest-hits set looked back on a decade of influence and intensity. And yet, it's 2005's See You on the Other Side that's Korn's real reinvention celebration. It's their first album as a quartet after getting left behind by born-again guitarist Brian "Head" Welch. It's also their first venture for new label Virgin. But really Other Side is Korn's acknowledgement that their life isn't all that bad, and it's time to party. It's a heavy record that swings, an album that takes Korn's rap-metal template toward the red-light swagger of the Dirty South's rap revolution. Is it really surprising that Lil Jon plays Jonathan Davis in the video for "Twisted Transistor"? That song's one of eight on Other Side produced and co-written by the Matrix, and it shows. It's Korn all the way, cocky and funky. But it's slick too, concerned more with the shock value of groove than trying to be some poor kid's slap bass confidant, his surrogate therapy session. And it works. It's cool to hear the Matrix getting down with Korn; they keep each other honest, balancing the sheen with the sleaze. Davis, Munky, Fieldy, and David Silveria still bring it, but in a way that's aware of the manufacturing. And that's key, since after ten-plus years, their act was getting a little tired. Why not embrace the cash, embrace the slinkier side of Fieldy's vertical rhythms? The target of "Politics" is obvious, and "Hypocrites" rails against organized religion. But beneath the polemic is the Korn sound stripped, made truly economized and catchy. Diehards are going to gnash their teeth, and clog the message boards with dismissive comments. But isn't it about time for them to move on, too? Other Side is a little too processed at times -- "Love Song" says "Motherf*cker!" just to know it's alive. But then there's "Open Up," running a NIN influence through weird processing, and "Getting Off," which wavers and lurches like Korn chopped and screwed. If rap-metal were ever meant to evolve, See You on the Other Side is the record that does it. ~ Johnny Loftus, All Music Guide
