Korn
The Paradigm Shift

Korn - The Paradigm Shift (World Tour Edition + Deluxe Edition)

(I apologize in advance for my long review, maybe too long, but I have so much to say. Thanks in advance for your understanding!)

The eleventh album from Korn had to be called just that: "paradigm shift", translated from English; indeed, according to guitarist James Shaffer, "it brings together the old Korn, along with the new ones, like a work of art where different details can be noticed when observing from opposing perspectives."
The old Korn with the return (perhaps for commercial reasons?) of Head, newly converted to Christianity and (perhaps) the only one capable of standing up to JD's sometimes arbitrary leadership, are now more similar (no more Silveria) to those who since 1994 have proposed a new genre, Nu Metal, capable of questioning Metal itself and re-presenting it to the public in different guises: angrier, more suffering, and resentful but at the same time more suited to the needs of listeners, especially teenagers (see, for example, numerous elements of hip hop and collaborations with various internationally renowned rappers, like Ice Cube to name one). All of this now meets the new Korn, the ones who, among other things, produced an album in 2011 in collaboration with artists from the electronic music scene, including Skrillex and Kill The Noise.

But let's now analyze track by track the new "The Paradigm Shift", produced by Don Gilmore (who's already worked with Linkin Park and Lacuna Coil among others) and see if the promises have been kept:

1- Prey for Me: perhaps the best possible start for the band "in search of the lost Nu Metal". Here Korn's trademark blends with elements of Groove Metal. The drums are at the forefront, impeccable and "take the other instruments by the hand"; the bass, often in the background in previous albums, is starting to be heard (finally); the riffs are not very elaborate, but impactful nonetheless.
The California group draws inspiration from Untouchables, Issues, a bit of Take a Look in The Mirror, and even reminds a little of the beginnings (particularly Blind).
Brian Welch returns to give that mysterious/grotesque touch with his solos that were so missed and give more substance to the excellent work of James Shaffer.

2- Love & Meth: The shameless copy of "Love And Luxury"? Let's not kid ourselves!
The second track confirms the impression of returning to origins (timidly hinted at in "Korn III - Remember Who You Are") present in the first song. We notice significant electronic influences (strongly present throughout the album and which I will comment on later), heritage of "The Path of Totality". Here too, the guitar lines are powerful, penetrating, and, if you will, catchy. Notable is the angry interlude with a Jonathan Davis who seems (at least in the studio) in shape. Heavy track but quite radio-friendly, as one might expect from Gilmore's production. Kudos also to Ray Luzier's superlative performance that confirms what was just said.

3- What We Do: starts like a horror movie and then turns into an alt metal ballad that, musically, offers nothing new, leading many to see it as a half false step. Keyboards and various electronic elements, especially dubstep, are omnipresent, hinting that "The Path Of Totality" is not forgotten. The atmospheres, however, are typically old-Korn style.
Personally, I don't mind What We Do, especially for the melodic vocal parts.

4- Spike In My Veins: If the previous one didn't particularly excite you, this one will simply disgust you. Produced for JD's solo project in collaboration with Nightwatch / Noisia (already collaborators on "The Path of Totality"). Lots of electronics dominate but do not overshadow the guitars and especially the bass. Luzier's refined technique is somewhat wasted here, but the experienced drummer does his best to put together a rhythm section worthy of his abilities (and his repertoire!).
Not bad, but these are nothing more than the Korn heard in TPOT with the addition of Head. Nonetheless, the song is as insane and heavy as needed to not be out of place on this album.

5- Mass Hysteria: Don't worry Korners, this one will make you mosh again, like in the old days. More heaviness, JD as the protagonist, candidating this track among the best of his eleventh discographic effort. Also noteworthy is the participation of Fieldy's bass, which gives something extra here that was missing in the past (but only due to mixing choices, not personal merit lapses). Ray behind the drums shows, once again, that he's a great heavy metal musician with a more than honest performance. Also noteworthy is the good collaboration between the two guitars, worthy of the old days.

6- Paranoid And Aroused: Heavy, full sound, nostalgic, those riffs! Perhaps the best song on "The Paradigm Shift". However, the bass returns to not being too incisive and this will be noticeable in much of the work.

7- Never Never: A typical Gilmore track? Maybe so, but here for me the summary of Korn's career is presented. It may be commercial and radio-friendly but of quality. We are in Electro/Hard Rock territory but there's also JD's angry scatting to enrich the whole. It could have, if better promoted, become a classic and especially attracted many more mainstream rock listeners. What a pity!

8- Punishment Time: usual electronic start with very aggressive and distorted guitars. The bass here is heard and is already more decisive. Luzier also does a good job.
Strange interlude, perhaps too quiet, but how it connects with the chorus!! Heart racing!!

9- Lullaby For a Sadist: the ballad you don't expect. Acoustic start and then Korn style unease. Probably keyboards a little too intrusive at times. But you can listen to another scary interlude!

10- Victimized: "Chilled" start but then the power of Korn reigns. It seems these five madmen have rediscovered the vitality they had lost (read Head). Here it's evident. Lots of synths and very present. As always, the interlude is almost perfect and here really makes you jump. Set freeeeee!!

11- It's All Wrong: What a track! The summary of a very good album that sees the (partial) rebirth of Nu Metal (pay attention to read, Nu Metal is not yet Korn that, unfortunately, fail to express themselves at 120% like in their golden period). Here electronics never annoys, actually enriches the work of (almost) everyone (Fieldy is a bit too much on the sidelines once again). Perfect final position to close victoriously!

World Tour Edition:

- Hater: a lot of electronics fusing with alternative metal to propose a fresh, modern, and more catchy track. Perhaps too calm for the metal combo, but not necessarily a bad thing, and at the same time powerful. More bearable than Never Never for many, sincerely very emotional (deals with bullying, a theme JD has been very involved with). The best of Korn from 2013. Flaws? Perhaps the left guitar (Mr. Welch) is a bit too depowered and mixed to deliver a clean-sounding track to listeners, without frills.

- The Game Is Over: Luzier starts with his usual beats but then this track becomes pure electronic with Fieldy coming out of the hat he was forced into. Experimental, but in this album and at this moment in Korn's career it fits. Nice, but something more too...

- Die Another Day: distorted guitar, proclaimed dubstep influences, bass returns but perhaps still too overshadowed to maintain a clean sound and give space back to the keyboards, without risks. But this, Korners, is modern, concrete metal, as well as original. Well done, guys!

I also listened to the live performances of this edition at:
- London: "Love & Meth" and "Here To Stay"
- Moscow: "Get Up" and "Never Never"
- Denver: "Got The Life" and the masterful cover of "Another Brick in The Wall". In short, they are all well executed, what is lacking, rather, is JD's voice which, however, sometimes seems to regain its bite.

Deluxe Edition:

- Wish I Wasn't Born Today: Follows in the footsteps of the previous track adding gloom and heaviness. Here the bass is heard as it should be. Nothing else transcendental.

- Tell Me What You Want: Lots, lots of synths but it still feels quite Korn. Noteworthy is JD's voice which adds even more pathos to the track.

Bonus Track:

- So Unfair: A very personal and moving account of a father fearing for his son's life and feeling powerless. Closes the scenes recounting the lead singer's difficult and disease-ridden recent years. Musically nothing new, it reconfirms the bass as the protagonist and the Head/Munky pair not rusted at all throughout the album.

What left me a bit stunned (and I've noticed several times before) is the near-manic pursuit of keeping the sound clean, perhaps limiting the creativity of the musicians: Luzier, in fact, despite being very good and at ease in every track, however, does not manage to impact as he did in Silveria's golden days. Far be it from me to compare two excellent drummers very different from each other, but here the one behind the drums is the one who seems to shine less, despite undeniable talent. Due to a production more similar to "The Path of Totality" than to the early works.
Moreover, the bass is often and, let's face it, annoyingly in the shadows; what has been Korn's peculiar characteristic today leaves something to be desired, but it is tolerated for a greater good (the twelfth studio album released towards the end of October of the past year).
Finally, I allow myself to criticize perhaps the excessive use of keyboards and electronics which at times are a bit indigestible.

All in all, these were Korn in 2013 and if we consider the vicissitudes of this group and what the work after this album, (The Serenity of Suffering) has led to, we can only commend a band that seems to have regained quite a bit of its luster after having experienced a significant artistic decline but, still, never proposed "musical concoctions" that blatantly seemed "made just to sell".
Welcome back, we missed you guys!