Korn
Untitled

THE REVIEW

After many listens and with great satisfaction, I am ready to review the eighth and highly anticipated studio album by the Americans Korn, a band that, if you count the original members, has been reduced to the bare bones; three are the "real" Korn: Jonathan Davis (vocals, bagpipes and in this album also drummer on 3 tracks), Fieldy (alias Reginald Arvizu, bass) and Munky (guitars). For the drums, none other than the virtuosic prog drummer Terry Bozzio (with collaborations with various artists like Frank Zappa and Steve Vai among others) and Bad Religion's (?) drummer Brooks Wackerman (and the aforementioned Davis) were involved in the songwriting, also the keyboardist Zac Baird, following the band live since the "SYOTOS World Tour".

Speaking of the album, the first thing you need to keep in mind is: once again Korn did not repeat themselves, writing and playing a complete album, with heavy tracks but with good melodies, all in the name of experimentation, leaving at home all that electronic, industrial-style baggage from "See You On The Other Side", replacing it with Zac's good work behind the keys. Another fundamental thing is the genre! "Untitled" cannot be attributed to any genre other than the "vague and generalized" formula of "alternative metal and rock" because, make no mistake: Korn have also left Nu Metal at home a long time ago, fortunately, to highlight and differentiate themselves from the thousands of Nu bands that, before 2003, crowded the shelves of stores, offering the usual formula "guitar+rap vocals+false growl+melodic choruses" (who said Linkin Park?). The album starts with an intro, dominated by keyboards and dark, mystical atmospheres, Davis’ subdued vocals at the end, sometimes calm and sometimes seismic, this track is more than an excellent "introduction" to the depths of "Untitled". The first real song of the album is the fabulous "Starting Over", a worthy successor to "Here To Stay" from 2002, a very direct, heavy, straightforward start, without many frills, Davis sings cleanly and beautifully (much better than "SYOTOS"), a decidedly rock piece with an excellent and very "heavy" chorus, a small intimate bridge dominated by keyboards at the end, an opener that already says everything about the infinite qualities and resources of "Untitled".

The only track that might remind of the previous album is the following "Bitch We Got A Problem", Davis sings erratically, recalling moments of madness from the early albums, a catchy, melodic and very good chorus, it is reminiscent of the b-side of "See You On The Other Side", "Too Late I'm Dead", it’s not among the best of the album, but it certainly makes its decent figure. Follows the first excellent launch single, "Evolution", a delightfully rock piece with a simple but effective structure, Davis recalls the singing from the distant "Issues", anthem-like chorus, it has a rather thick and "hard" ending, with the singer's screams enhancing the whole, a more than spot-on and also the most obvious choice to make, being "Evolution" one of the few songs on the album good to be a "single". Solid, heavy, excellent, splendid, driven, spectacular: I find no other words to describe the following "Hold On", a masterpiece of the album, with a cadenced pace and rocky structure, a chorus that sticks in your mind and shouted by the American frontman, powerful riffs by Munky and a pounding bass, truly one of the many gems of "Untitled". As I said before "Untitled" truly has masterpieces to spare, one of them is without a doubt "Kiss", the first slow track of the album, immediately reminiscent of Jonathan Davis's style on the OST of "Queen of The Damned", a semi-ballad with strong pop references, which nonetheless remains stunning, Davis sings fabulously, it is the worthy successor of "Tearjecker", indeed it is much better than the last piece of "SYOTOS", the chorus becomes heavier, and at the end, Davis unveils that melodic little voice that I so appreciated on the recent Unplugged. The only one disappointing compared to the statements is "Do What They Say", surely remains a big piece, another beautiful jewel of the album, but from here to define it the "best Korn-song of all time", Jonathan, there’s a long way, nevertheless it remains as said a beautiful song with an exciting chorus.

There is only one adjective to identify the next "Ever Be" and its engaging music: EPIC! A lethal epicness, cadenced start, seems like a slow song, but it quickly becomes rocky in the chorus which, as Munky said "could have been played during the movie 300" for how intense and majestic it is, among the many highlights of "Untitled", a little over halfway it becomes uniquely hard, truly "heavy", only to plunge back into the beautiful chorus and massive riffs, a thrilling end. Frankly and candidly pop is "Love & Luxury", aimed at Head, certainly might not be pleasing, but after all, it's the only truly commercial track and I wouldn't be surprised if it were chosen as the second single, however it is also well composed, catchy chorus, almost "dance/industrial" keyboards that dominate, initially might disappoint, but after several listens you realize it fits within the entire album, it is fun, ideal for a party, amusing is the term that comes to mind. "Innocent Bystander" remains on the coordinates of the album, the leading riff is straight, simple and strikes, the chorus is very very heavy, Davis seems to be having a nervous breakdown, not very driven but surely a compact and very captivating piece. Among the heaviest things Korn have ever written is definitely "Killing", killer groove and "metal" pervade the whole song which turns out to be among the best, chorus in "Untouchables" style, but the real revelation is towards the end, to break the groovy pace there is a brief segment where it seems to turn into a slow song with keyboards in the foreground and Davis's subdued voice, but immediately a growl sweeps away everything comes on stage, Jonathan has dusted off his Cannibal Corpse records, indeed except for some exception verses it will end the song with growling and the rest of the band pounding, perhaps even more than "Take A Look In The Mirror".

Another slow typically "Davisian" is "Hushabye", moments of pure psychedelia start the song, the chorus is very much based on the strong emotions transmitted, a piece flowing smoothly, without hitches and probably is the umpteenth great job produced by these "new Korn". The conclusive track had been online for a while thanks to Jonathan who posted it on myspace as soon as it was mixed and turns out to be the umpteenth masterpiece, it’s the piece where Bozzio’s progressive drumming vein is most evident, Davis sings calmly, but the piece contains very "heavy" and progressive moments, excellent melodies by Baird, there is even a small Bozzio solo, it has a good chorus and is an excellent closure to "Untitled". In short, if you haven't understood it, I was very satisfied with Korn's new album, which really cannot have a name because it surpasses every musical barrier and if I can dare, it is the best since "Issues" because it contains all the essence of the latest Korn, the melody of "Untouchables", the hardness of "Take A Look In The Mirror" and the experimentation of "See You On The Other Side", aside from obviously the usual extra element that enriches all 12 songs (13 with the intro) that only Korn can provide to make all their albums unique.

Rating (out of ten): 9