Just under 2 1/2 years since the release of The Nothing, Korn has released their 14th album. That time went by in the blink of an eye and slow as molasses, which can only be seen as possible through an event as large as a pandemic that upended everyone. Requiem is both a reflection of The Nothing, and the stress of the covid-19 lockdowns.

Korn didn’t get to tour The Nothing for long, finishing the first leg of a US tour days before the world got shut down in March of 2020. That album is a tour de force in anger and grief, an outlet of spiritual catharsis that many reviewed as one of the best albums of their discography. 25 years into a career, that’s saying something. Requiem was written and recorded through much of 2020, so the finished product has likely been sitting in wait for some time. The question has been what would be the theme to follow The Nothing? What is their message this time?

Having spent 3 weeks with Requiem I’d say it’s one of optimism and further introspection of what ails us.

On and on, this lucid darkness is filling up my soul.

And how can I be all alone here, constant ridicule.

And I just wanna go

And I just want to see what the future holds.

Had a hell of a time I’m suffering. God, my life was a mess. And I will never forget it haunting.

Let the dark do the rest.

Track 2 “Let the dark do the rest”

While there’s a lot of thrashing around that you expect from this band, these recordings have a certain clarity and brightness to them that feels refreshing. It’s a more approachable album compared to The Nothing, which was a constant howl and shake of the fist to both heaven and hell. It was basically a tableau of a man mourning the loss of life. On the other side of that trauma–in the middle of social and health stress that the majority of us have never experienced before–there is a relief that can be found. Growth, acceptance, and the challenge of moving forward in the face of doubt and uncertainty are all concepts that you deal with your entire life. You can see this in the album art, a face being squeezed by a hand. Nothing is a given and you need to prepare every day to put one foot in front of the other.

Look out, the feeling’s rushing back again

Too much to numb

It’s ripped the seam, I stitch it up again

Somehow it stays on

Track 7 Penance to sorrow

And from one of the best tracks:

It is always something, life keeps throwing things that don’t go my way. I’m damned, awful thoughts devour me, all familiar places I can’t escape.

Calling me, I feel it coursing through the inside and I can’t get away, away inside

I feel it breathing and I realize the worst in on its way.

It makes me sick/ but I deal with it/ set it all aside/ my confidence overrides

Track 9: Worst is on its way

Sonically, the first thing that jumped out to me is a few elements from The Paradigm Shift (2013). A few recalls in the guitar tunings and a few notes from a synth for texture (“Lost in the Grandeur” is the best example). The vocals are super sharp, in the front of the mix during verses, and then pulled back into the fold for the choruses that are anthem-like walls of sound that beckon you to sing along. Jonathan Davis is beautiful on this album with some terrific lyrics and clever vocal arrangements that lean on layering so he can harmonize, emphasize certain words and phrases, and create a musical representation of his headspace. He uses all of his vocal prowess on this album from whispering to death metal growls.

Going along with The Paradigm Shift and Serenity of Suffering (2016) approach of writing, Requiem leans on the guitars of Head and Munky to lead the charge. There is just one fun rift after another through the entire album. They came up with some weird effects that bring back the Untouchables (2002) days, which is a real treat for me. A lot of tempo changes and transitions that weave over and under each other. Guitar sounds you just don’t hear anywhere else, giving us the trademark creepy vibes. This is a really melodic album which is one of my favorite things Korn does; those compositions add much of the beauty to their most memorable songs. Requiem also has some terrific song intros, which are key to setting the stage before blasting off into the world beyond. The first 22 seconds of”Penance To Sorrow” sounds like you’re being seduced to come in closer for Jonathan to embrace you with his voice:

Outside I’m looking for an answer

‘Cause inside is gone

Each step the ground beneath me starts to break
I can’t hold on

Ray and Fieldy frolic in every pocket they form with the percussion. They bounce off each other really well, as we’ve come to expect over the years. Fieldy has a slightly different tone in each track, he’s very dynamic on this album. You have traditional bass sounds that mix inside what Ray does along with his trademark clicky slaps that set him apart from all other bass players. These two made me swoon a few times (check out “Penance To Sorrow”).

One of my favorite songs is “Disconnect” which has every Korn element I love. I’d recommend you listen to this song to get the summary of this album in one tasty bite that you might find yourself dancing to. Chugging duel guitars that tease and embrace each other. Classic Fieldy thumping away in an intoxicating rhythm with Ray. Sweeping, moving, and energetic vocals. There is a swing to this song that is undeniably infectious, one of those beats like “Here To Stay” that is simple but memorable. For me, this track gets into the mentality that I think a lot of people have gone through in the last 2 years.

I could never let go/ The concept of dark and light
One tries to pull me in/ One gives me strength to fight

Lies are truth refined/ Dark is light hidden from the eye

The pain I have I can’t conceal/ The hurt inside is dark surreal
The feeling is divine/ This duality aligns

Selfishness, indulgence
Insist on, forgiveness
Common sense, still awaits
What we feel is all disconnect

Track 5 “disconnect”

While they don’t do anything groundbreaking with this album, there is a great sense of play and exploration with the instrumentation. This is unmistakably a Korn album and you can hear everyone contribute on every track. They again reach out of the mold they made almost 30 years ago, but don’t try to reinvent it. It’s familiar, but not the same album as before. And since no one else sounds like Korn, I don’t see that as a problem. In fact, it’s what I keep coming back for. It’s almost impossible not to groove along with this album. Whenever I have this on in the background (great car album too) I catch myself bobbing my head along with each sweet and bouncy note. They landed on a terrific blend of metal, groove, funk, and rock that keeps their tremendous win streak going. I’m so happy they are still putting out music this good.

At 9 tracks (33 minutes long) this is the shortest album they’ve ever put out. With the B-Side “I Can’t Feel” it’s 36 minutes (it’s a good, not great song). While I always want as much material as I can get with each release, I don’t mind the brevity. It’s pretty much all killer and no filler. There’s a level of focus in this production that makes it clear they got everything across that they wanted to with Requiem. I do wish they would make longer songs though. There’s only one song that reaches 4 minutes. It can feel like strict efficiency to make songs that will fit on the radio (and what’s the point of that in an industry now dominated by streaming?). They didn’t adhere to that idea with their early material which had super weird song structures that I miss today.

That’s something I’d like them to explore next, break out of their standard song structure. They’ve been relying on choruses to get to the end of a song for a very long time. Use a chorus twice instead of three or four times. Make longer bridges, more varied pre-choruses. Going “experimental” in this way could make a really dynamic and stand-out album. There is no need to ape the sounds of Korn or Life is Peachy. There is a well of discovery out there with those kinds of crazy song arrangments from those two albums. Don’t put a limit on how long a song can be. We’ve had a few very brief bass solo parts on the last three albums, how about letting Munky and Head go nuts for 45 seconds or so? I’d go nuts for an epic 6 minute Korn song, the likes we haven’t heard since “Faget” on Korn.

The only track I skip is “Hopeless And Beaten” because I don’t like the music at all. I think you have to go back to The Path of Totality (2010) to find the last Korn song I can’t stand, so this is a rare event. It’s a slow song, I don’t like the lyrics and it just isn’t pleasant to listen to. It’s more noise than music.

Every couple of years, the Bakersfield Boys (and Pennsylvania Kid) come together in the kitchen, place some ingredients on the countertops, and pull from their custom spice rack. They spend months crafting new recipes trying to make something fresh and enjoyable with every menu they put together. Requiem is another touching release, full of care and thoughts only these individuals can pull off.

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.

Out of left field comes this monster of a track! No other band on the planet could make this song. I mean come on.

The creepy, weirdo vibes of yesteryear come roaring back. All my favorite Korn elements are in here, it’s like they smashed every album into this one song. They have been this creative in years, I’ve been dying to hear them do stuff like this. It’s definitely a love it or hate it song, it’s in your face obnoxious and brash.

It’s simple and complex. Slow and ferocious. The very beginning is a classic slow thumper that the band is known for (Here to Stay comes to mind) and then it just cracks open like a volcano. Simple riffs transform into absolute shredding and whatever the hell that spiraling wave effect is at 2:37 gives me chills. A bunch of tempo changes, beautiful melodies, and there’s funk in here too! It’s bouncy and the breakdowns (1:05!) are absolute neck-snapping headbangers. It’s impossible for me to stay still when I listen to this.

Every element is amazing, everyone playing at their best. Ray’s Doctor Octopus style playing from Korn III: Remember Who You Are makes a triumphant return. Jon’s vocal layering is next level, the production is just nuts. “You’ll Never Find Me” was clearly selected to be the safe track to introduce this new album and “Cold” is the slap to the face bell ringer to let the old Korn fans know dinner is ready.

I cannot wait to hear what the rest of The Nothing sounds like.

September 13th!

And on this day, the lord bring us Korn’s 12th album.

Initial thoughts: The Serenity of Suffering is exactly what I hoped they would make coming off of The Paradigm Shift.

I have to give this many more spins before I do a write-up, but it’s out there everywhere. Spotify, Korn’s official YouTube channel, etc.

Not sure what the narrative of the video is, but I’m all for stop motion animation.

Neat, some time was spent putting this together.

Get this album into my hands right now! I’ve had huge expectations for this since The Paradigm Shift came out and I’m pretty sure I’m getting the album I predicted.

The day has finally arrived! The first single from the new album! Have to wait until October 21st for The Serenity of Suffering but this is a fantastic look at what they have in store for us. I have huge expectations for it. The Paradigm Shift was just the springboard for the band to get really creative again with Brian back. It would have been killer to get this as a summer album, but it’s exciting just knowing more is coming.