Korn - Path of Totality Review

It that may not go down well with traditional Korn fans, but the band has shown they’re not afraid to change to keep up with the ever-changing times.

By Rhys Milsom /

rating: 3

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Dubstep is becoming a pandemic. No-one can get away from it and it€™s swarming over a lot of musical genres and oozing its way into our lugholes, whether we like it or not. One particular genre that dubstep has infiltrated more than the rest is metal. For a lot of younger people, Enter Shikari or even Rolo Tomassi were the first bands they€™d heard of that merged the two genres but this integration has been going on a lot longer than it is perceived. Three-piece experimental heroes Genghis Tron is one such band, as is enduring favourites Horse The Band. These two may be not the most well-known bands to mention, but it€™s important that they are known, as they are bands that particularly brought the amalgamation of metal and dubstep/electronica to the fore within certain musical circles who perhaps wouldn€™t have listened to dubstep, on its own, before. They also continued playing their (then) relatively unknown music, without getting much mainstream success, but paved the way for the artists of today. Dubstep is also reaching out to the more refined recesses of genres that offshoot metal; look no further than up-and-coming British band Hang The Bastard for an example of a band who are combining their raw and uncompromising sound with tinges of dubstep. The bands I€™ve just mentioned are relatively small compared to heavyweights, Korn, but even they can€™t evade the popularity and influence of dubstep, as this album shows. I suppose I had the same reaction as a lot of other people when I first heard about this release: €˜Korn have gone dubstep? What the hell is the world coming to?€™ but after listening to the album it isn€™t such a bad move €“ and that€™s coming from a guy who can barely tolerate the genre, usually. It may be something to do with Jonathan Davis€™ vocals, which are comfortably still there and haven€™t been altered a lot by annoying synthesizers, or the trademark crunching riffs which appear now and again, but whatever it is, Korn have made sure this is a Korn album, and not an album they€™re going to be overshadowed on by the various dubstep artists who collaborate on this release. It€™s a long way from previous albums such as Life Is Peachy and Follow The Leader, but it was always going to be. Perhaps it€™s a sign of the times that a band with such a trademark sound are changing and morphing into a new, different monster. Highlights of the album are: My Wall (featuring Excision and Downlink): a dark, grooving track that displays Davis€™ vocals at their most raw and heaviest. The music itself isn€™t necessarily the strongest on offer, but it€™s in the mechanical, chunky beats that act as a solid backdrop to Davis where it€™s so effective. The lyrics of, €˜I put my wall up each day / You tear it down / I hide in my space / The space you found / And one of these days / I€™ll come unbound / The feelings I hate / Will finally drown,€™ add an intriguing, real aspect to the track and lets the listener know that the lyric writing of Korn is still such a big part of the band.Narcissistic Cannibal (featuring Skrillex and Kill The Noise) is probably the strongest track on the album. It€™s sure to be a song that many people will have already heard, as it was released on October 18th and was given a lot of airplay. The fact that the song features artist of the moment, Skrillex, adds to the song€™s appeal, too. The rhythmical beats and in-your-face vocal style, accompanied by the melody and effective synth applied by Skrillex make for a track that will be a favourite with dubstep fans and Korn fans alike. Sanctuary (featuring Downlink), is a grinding, authoritative track that€™s slow in its precision but quick in the effect it gives. The track is almost hypnotising, and if it wasn€™t for the melody, which sways, falls and fluctuates through the track, Davis€™ vocals wouldn€™t perhaps suit. But, as the melody is used, Davis€™ vocals do indeed fit and it makes for one of the more sinister tracks on offer. Bleeding Out (featuring Feed Me) is a poignant, elegant track until just over the minute mark, where a heavy, solid riff comes into play and flirts with the rolling dubstep. Davis€™ vocals are more like what we know him for on previous Korn material here, and this is where Korn fans will find some let-up if the constant dubstep is getting too much. A nice touch to this track is the bagpipe-esque synth which, if at first a bit surprising, is used in an intelligent and not unwelcome way.This is an album that may not go down well with traditional Korn fans, but the band has shown they€™re not afraid to change to keep up with the ever-changing times. It€™s more of an intriguing listen, rather than a fascinating one, and the band has done well to create an album that, if it had gone wrong, may have tarnished their career. It€™ll be interesting to see where this release takes them next. Korn's new album The Path of Totality will be released on Monday.