The follow up to 2016s The Serenity of Suffering, The Nothing continues Korn’s upward trajectory. Once again shepherded by producer Nick Raskulinecz, this album sees the band rally behind singer Jonathan Davis during a massive time of loss to create one of their most powerful albums.

Dark and intense, The Nothing is a concept album about death. More specifically, it’s the journey through grief. It’s been a long time since Korn has taken this extensive path to tell a story and with Raskulinecz help and focus they are able to lift up from their past, continue experimentation, and deliver a sound that no one else can.

First and foremost, the production on The Nothing is breathtaking. The percussion from Fieldy on bass and Ray on drums anchors every track. Fieldy is dialed in to be so clicky and bold that you can practically see his strings vibrate as you listen. Ray’s kit is powerful and clear; the snares snap with every strike, the toms rebound in bliss, and the cymbals ring out to the heavens. Head and Munky bring some of their most memorable and heavy riffs along for the ride, the chugs, wails, and distortions painting the soundscape for Jonathan Davis to run with. And that leaves us with the vocal performance of Davis’ career.

JD’s work on this album was forged by the loss of his mother and wife. While he’s never been one to shy away from singing about his demons and desires, The Nothing is especially personal and cathartic. Right from his first words you can tell great care was taken in crafting these songs. His entire range is on display here and he delivers some of the most powerful growls and metal screams of his career. It’s amazing he can do what he does on this album 25 years into his career.

Nick Raskulinecsz understands this band. As far as I’m concerned, he should be made the sixth member. Just like with The Serenity of Suffering he extracts the best elements from each player. You can hear the spirit of Life is Peachy, Issues, Untouchables, and Take A Look In The Mirror weaved into almost every song. I was especially thrilled to hear the funk of Peachy return as there is simply not enough funk in the world. It’s one of the biggest elements that got me into the band and it’s one of their most unique traits that’s often missing. Fieldy and Ray make this album crackle with a kinetic energy that is so infectious it’s nearly impossible for me to sit still. The darkness and depth from Issues and Untouchables glue together The Nothing along with the aggression of Mirror and the experimentation of JD’s solo work, Black Labyrinth, adding new textures.

Starting with “The End Begins” you are forced to attention with the return of the bagpipes. An introduction to The Nothing that invokes the turmoil of attending a funeral. Sobering to listen to with a step stone bassline and drum beat with Davis leading the procession to the sobs of mourning. A mesmerizing mix of “Daddy” and “Dead.”

Korn then slams you into “Cold” a pulse-pounding metal injection that sets the tone for the kind of energy you can expect to be whipped through on this album.

On my first listen, a number of these tracks gave me goosebumps. “The Darkness is Revealing” should be the final single, it’s the perfect example of Korn’s success with this album. Terrific energy, gorgeous dreamy guitars, a fantastic chorus, dynamic vocals, a fantastic danceable beat (some Follow the Leader vibes), and it’s one of the most approachable songs on The Nothing.

“Idiosyncrasy” has one of the best openings they’ve ever done and a real stand out song for Head and Munky’s work. And that’s a running theme of this album, their riffs are so catchy and cool from start to finish. There’s a lot of fun elements to check out on every song, the grooves they get into are rich and mesmerizing. Even though the lyrics can get intense, they don’t overwhelm the album and make it miserable or too dour. There’s a special tone to the music that makes it breathe. The structure of songs keeps it all flowing. the tempo and pacing of songs change frequently, which I love. Tracks like “The Ringmaster” are pure weirdo Korn with its curve ball into the off-kilter bridge as is “This Loss” which has a bridge that’s damn near a waltz! Freddy Mercury would be proud.

Speaking of “The Ringmaster” it’s the perfect song to talk about the care in mixing this album. The first verse goes:

Hey, you/ Yes, I’m talking to you /And what are you doing here?/ And why you look so sad, man?/ Brother, please come here/ Let’s talk and let it out/ Dear, you have nothing to fear/ Child, I’m the one that makes it, oh, so, so much better

JD’s vocals are doubled with two different styles singing the same lyrics, but their intent is different. It gives me the visual of a two-headed carnival barker standing in front of me, holding open the curtain to the main event tent, trying his best to sell me a ticket. Then, JD harmonizes with two different vocal deliveries for the sweeping chorus.

This kind of creativity, along with the juicy percussion and non-stop riffage make this one of the most dynamic songs Korn has ever done. Nearly every song has a memorable beginning and thunderous end.

We also have tracks like “Finally Free” and “This Loss” that offer the more somber and introspective side of JD’s lyrics. The passion and purpose of these songs are undeniable and touching. “Finally Free” is also another highlight of his vocal delivery, with spirited singing tagged with death metal growls. There is an epic howl at 2:45 that stretches out his entire breath, the music stops, and a digital gasp effect hits as if the whole band is breathing in together and then the music returns for the chorus. And while these songs are sad, they are also oddly comforting. “Can You Hear Me” is also another important song as it’s the calmest one on The Nothing and as track 8 of 13, offers a nice reprieve from the chaos. A better and more interesting “Never Never” style song, it’s grown on me over time and it contains one of my favorite choruses.

As a concept album, the order of the songs is deliberate and important. Listening straight through is a different experience from skipping around. “The End Begins” and “Surrender To Failure” bookend the path of mourning. “The End Begins” is where JD is openly grieving his wife’s death. Close to the halfway mark is “The Seduction of Indulgence” an interlude that sounds like something from a seance where he’s putting down all of his defenses, allowing the emotions to consume him. This marks the point of more introspection. In “Surender To Failure” we come to the moment where he’s exhausted from trying to think of what more he could have done. There’s nothing else he can do, “Looking for answers I’ll never find.” He has no choice but to accept what has happened.

Now, will all of this sway people who don’t like the band? I don’t think so as many of the pluses I’ve listed are what the detractors of Korn hate. They don’t like Fieldy’s loose sound, consider JD’s lyrics juvenile and uncomfortable, his rhymes simple, the guitars not technical enough.

This is 100% a Korn album and the band doesn’t try to be anyone different. I love that. They’re bringing me all the elements I want. The three shorter tracks are also very different from their norm with the music arrangement skewing towards JD’s solo material, as first hinted at way back on See You On The Other Side with “Tearjerker.” I will say that I don’t think anyone can deny the performance Davis has done on this album. His emotion is real, the crying at the end of “The End Begins” isn’t from an angsty adult. It’s the natural response of a person going through something we are all terrified of. If you’ve gone through the death of a loved one, you know exactly what he’s experiencing. And if you haven’t, you will. While some will roll their eyes to “God is making fun of me, he’s laughing up there I can see” from the bridge of “Idiosyncrasy” it’s delivered with such legit anger and frustration backed by absolutely crushing music that it’s one of my favorite parts.

I hope they play as many of these songs live as possible on future tours. The build-ups, breakdowns, and ferocious drops are what their fans love and will send the pits flying. The Nothing isn’t just Korn’s 13th album, it’s another seminal work in their discography. More than that, it’s another rung of the ladder that the band has built for their fans to grab onto and hoist themselves up with.