Korn
See You On The Other Side

THE REVIEW

I have heard quite a few criticisms about the latest Korn album, and most of them are unfounded, used only to discredit a band that has played a significant role in reshaping the concept of "heavy" music in the '90s, a difficult time for heavy metal. The difficulties and missteps have been there even for Korn themselves ("Untouchables" is an example), but they have always bounced back, proving to those who wanted them dead for a while that Korn is alive and kicking, and even quite pissed off (the aggressive "Take A Look In The Mirror"). Another proof is this "See You On The Other Side", a different album that moves away from the tight schemes of nu metal that the band itself helped create and seeks to explore new territories by embracing new influences. Fan or not, this shouldn't surprise anyone because the word Korn has always been synonymous with two important words: INNOVATION and EVOLUTION!

It’s obvious that in this album we don’t hear the groove metal of their debut and its heavy riffs because from "Korn" to "See You On The Other Side", there has been an evolutionary process in the band’s style, filtered through great albums like "Life Is Peachy" or "Issues". This process sees its first fruits in "See You On The Other Side", first because a band member, guitarist Head, as everyone knows by now, left the group for religious reasons. When a band loses an important member (Head was a co-composer with Davis and David Silveria of many Korn classics), it is forced to reinvent itself, and to me, Korn has done so adequately with this new form of alternative metal framed with strong industrial tendencies, all with a veil of pop/rock that increases the catchiness of the songs but at the same time does not compromise the heaviness of the sound. In short, "Korn can still be considered a heavy rock band", in the words of Jonathan Davis, who denies any softening of their sound towards calmer shores.

The album opens with its launch single, "Twisted Transistor", with a delightful heavy riff that drives the entire song, cheerful and beautiful from all points of view. However, one cannot deny a pop/rock aftertaste that doesn’t ruin the song. Korn wants to show everyone that they are still a "metal" band with this really tough "Politics", which also features a riff that propels the entire piece and has a chorus with a vague death touch, all with an incredibly groovy feel. More on classic themes is "Hypocrites" presented in preview during the concerts, beautifully rhythmic with Fieldy's bass slapping as it should, but perhaps it’s the most repetitive and unnecessary piece of the album. Very similar to "Hypocrites" is "Souvenir", which seems constructed on the same riff, but this one is more pleasantly listenable than the other. The first real change of direction is with "10 or A 2 Way", a murky mix of psychedelic drums and synthesizers, opening up to the typical Marilyn Manson sound, and the result is not bad. A beautiful song, particularly with Davis’s voice reaching elevated peaks of beauty. One takes a break with "Throw Me Away", presenting an acidic pop/rock mixed with Nine Inch Nails industrial rock. It leaves room for the first real standout track of "SYOTOS", the poignant and melancholic "Love Song", written by Davis, reminiscent of the writing style used in the "Queen Of The Damned" soundtrack. The dark-neo romantic veil covers the entire song, with the American frontman impressing with impeccable vocals, especially in the melodic parts—10 to this song!

Echos of Nine Inch Nails also in "Open Up", but it only serves to introduce us to the album’s other big cartridge, "Coming Undone", a crossover/rock piece featuring a riff that vaguely recalls the immortal "Walk" by the immortal Pantera, really leaving me headbanging until the end. The heaviness continues with "Getting off", where Davis returns to assault his microphone with an impressive growl. The whole song has trashy flavors seasoned with a good electronic side, and also Fieldy, a bit sleepy so far, makes himself heard. The nu metal revives with the cunning and straightforward "Liar", a funk-metal song with a cleverly opening riff and Davis’s voice at its peak. Towards the end, his mad growl resurfaces, which had made songs like "Twist" successful. This song seems like a homage to old fans as it doesn’t align well with the rest of the album, yet it stands out as one of the best. A skillful blend of electronics and what was done on "Take A Look In The Mirror" is "For No One", a decent piece still bogged down in nu metal, freeing itself only in the final part when Munky’s guitar becomes more substantial and Davis’s voice reveals its more pop/rock side.

We move towards the end with two beautiful tracks "Seen It All", melancholic and sad, uniting acidic rock, alternative metal, and a certain dark vein. "Tearjerker" is a worthy conclusion for "See You On The Other Side", where Davis reveals the most intimate and melodic side of his voice, initially accompanied only by a synthesizer, facing a kind of masterpiece of melody and the more psychedelic side of Korn. Summing up, this "See You On The Other Side" shouldn’t be considered as a confirmation or not of the band, but is a new starting point to resume their career by producing good albums like this one.