Giving you the nu-metal you’ve always wanted to hear, KoRn have announced a one-off headline date at London’s Brixton Academy on Wednesday 23rd August, which is also in addition to their main stage slots at the Reading & Leeds Festivals. You can listen to the group below!
What is arguably going to be the most controversial record in its musical field, Suicide Silence are here to show off their versatility and show off something else that the fans will most likely criticise. With it now seeming the band going into a direction and create something they have always wanted to, have they made something that will good light or will it be just another backlash to add to their list?
The first two songs on the record are the tracks that people have already heard and are banging their heads against the desks in pain. ‘Doris’ starts off with a very strange intro to the album as a whole, but once the track kicks in it flows a lot more groovy in its album writing. The live recording of the entire album is a main feature throughout with the band having some off the cuff touches. Whilst the ‘tee-hee’ vocal parts can be a bit off putting, the more noticeable cleans have a decent tone on them and once the bass sections flows through, the sound on that is such a nice flavour to the song. The guitar effects can take away at some points with the flanger/phaser sound being a weird placement. As it flows straight into the next track ‘Silence’ the heavy intro is a mosh pit waiting to happen and gives a throwback to their older material. Then the verses have a distinct nu-metal sound within its walls and as the vocals flow really nicely on some of it, at points it can feel a bit off putting. With the KoRn/Deftones names thrown around as comparisons for sections, it does come off but at the same time it feels a bit upsetting comparing these disingenuous sections to those bands.
‘Listen’ opens up the unheard songs with the bounce of the drum patterns and the distortion of the guitars, which at some point feel muddy at time. The bass and vocal heavy sections feel full of raw emotion and punch through, and feel when the guitars start chugging, it has that moment of feeling like some angsty metalcore with the high screams getting a bit eye wincing at points. Then there are these parts that have some uncouth chanting singing bits in the background with the more spoken word element having a sprinkle of seasoning to the otherwise already salty dish. The ending minute of this track feels ripped out of the ‘Issues’ era of KoRn music, dubbing a nice nostalgic feel. Arguably one of the better tracks on the record is most likely the softest song you’ll ever hear from the band. ‘Dying In A Red Room’ is beautifully written and gives a much darker tone without having to utilise so much of their heavier accolades. The Deftones influence is much more apparent in this track and even with a taste of the band Tool coming into full effect. The only downside of this song is the ending when the sound of Eddie’s vocals make him come across like a dying computer.
With the band asking for less feedback, ‘Hold Me Up Hold Me Down’ kicks off with some feedback before the guitars kick in and bring something that is an enjoyable listen, but as the song goes on, the bands structure seems to fall off the rails, with the style of vocals that Eddie does over one section feeling really out of place and makes you lose interest in the track and with an album that has quite a huge chunk of four and a half to almost six minute tracks, being something that grips the listener is something you really want. What might surprise a lot of listeners is that there is a monstrous breakdown with some of the most disgusting low vocals being produced and the guitar tone working effectively. The fact that this breakdown goes on for half of the song feels like a lack of creativity, which is amazing coming from an album that encompasses so much unique elements from so many genres. There will also be the fans who will get off on the pig squeals and blast beats, and rightly so.
‘Run’ is a definite throwback to the 90’s way of writing and music style with the structure of its guitars and drums with the clean vocals, like in DIARR, work a lot more as a whole when you think about how they are writing their music. The guitars are what make this track a more enjoyable experience with the tone that they use having such a great flow within it and overall becomes another enjoyable track. ‘The Zero’ uses key changes to a bit of its advantage, with about 3 different keys being used overall. The clean vocals start to fall off the rails again with the odd grunt addition and the pattern he uses not feeling like it flows with the track for most of the song. The panning of the guitars get a bit more of a pulsating motion in the verses and the instrumentation push a bit more, with the choruses being a very solid listen, especially with the screams. The ending of the tracks poses a bit more of an exciting side of the band, with the guitar buildups muted and tremolo picked with the selected drum pattern helping put a few more wheels in motion.
The final two tracks are the bands final clasps and with ‘Conformity’, it starts to show off the more enjoyable side of their softer material and with the addition of the acoustic guitars, it adds a more seductive element to it. Once again, the instrumentation builds so much around it being a great track and the clean vocals for 85% of the track really give an argument to them pushing more of that side of them and whilst the track has notions of the calmer side of Metallica in the linear parts of it all as well, unfortunately the time aspect of the track feels a lot more dragging than it does gripping. The final track goes on a heavier tirade and has a more death metal aspect to it much like ‘The Cleansing’ album era. The old school fans of the band will definitely be gripped to this track with its ferocity and its stylistic approach with the blast beats and pounding triplets. ‘Dont Be Careful You Might Hurt Yourself’ is undoubtedly one of the heaviest tracks on the record and closes the album on a very tribal note, with the whistling and the sounds of clinking instruments.
You have to applaud the band. They have made something that is the path they want to go and invoke a lot of stylistic endeavours that will no doubt be great in their future releases. The fact of the matter is though that the live recording, a certain amount of clean vocals, some parts of the guitar tones and the overall attraction of many influences turn this album into a bit on an audible calamity. The band have set a new bar for themselves musically, but it honestly won’t be hard to beat.
First up in an insanely energetic line up was New York hardcore band Madball. Opening with sound effects and purple lights to build the tension and immediately throwing themselves into Infiltrate The System, Madball had the same amazing energy all the way through their set. They were excited to be performing and they greeted the screaming crowd straight away with the vocalist went into the crowd during the first song. By the time Madball started Hardcore Lives, the second track, there was already a mosh pit going.
Madball had a great heavy sound, despite only having one guitarist. The lights and sounds were on point, considering they were the first support act, and they had great stage presence and managed to fill the huge stage, despite them only being a four piece. They repeatedly thanked the audience and the behind the scenes crew in between tracks, and their use of sound effects during instrument changes was second to none.
Next up were the legendary Limp Bizkit. Opening their set with Hot Dog, the crowd went insane and formed a mosh pit straight away. Lead singer Fred Durst wore a Madball shirt, and halfway through the set went out into the audience. The crowd went crazy for Rollin.
Limp Bizkit managed to find a number of crowd musicians to perform Take A Look Around, and called them Limp Dick. These guys were pretty good, and got a great response from the audience. Limp Bizkit were incredibly supportive of the other musicians that they were performing with, and it was great to see. They also performed a number of covers such as Mother by Danzig, and a Nirvana medley that was an amalgamation of Heart Shaped Box and Smells Like Teen Spirit.
However there were a couple of minor flaws with Limp Bizkit; the backing singers weren’t always in tune with Durst (although the crowd didn’t care, they were too busy having a great time) and on some of the tracks it was difficult to hear the bass. Although Limp Bizkit were the second support act, and a bit bigger than Madball, Madball‘s sound was better.
Finally, after a short interval and an epic introduction of sound effects and a lighting rig that would make any artist jealous, Korn came on to the sound of thunderous applause and cheers from the crowd. Starting with Right Now, around four different mosh pits were happening simultaneously in the crowd. At first the sound levels were a little off; the drums were drowning nearly everything else out, but by the time Korn started Here To Stay, which was second on their setlist, there was a decent balance between the instruments. It was here that the audience observed the smoke machines that were timed by the technicians perfectly. The crowd were wild by the time Korn started Word Up!
Korn, following in the likes of their support acts, interacted with the crowd a lot. They split the crowd into two and encouraged a massive mosh pit, which was a cross between a Wall of Death and a circle pit. Korn played a good balance of old and new records, and they announced that it was the 20 year celebration of Life Is Peachy, and performed Twist and Good God. For the encore, they played Falling Away From Me and Freak On A Leash. It would have been great to see Korn perform some more material, however this would have meant sacrificing some of the support acts, which were excellent in their own right.
For fans of; Killswitch Engage, In Flames, Alexis On Fire, Cancer Bats and Five Finger Death Punch comes All Else Fails with their new album The Forever Lie.
This follows up from the groups 2013 EP Fucktropolis which garnered them wins at the 2014 Western Canadian Music Awards and Edmonton Awards.
Frontman Barrett Klesko stated: “Almost 4 years ago we released a little EP called “Fucktropolis” that exceeded all our expectations. It’s been a long time following up with a new album, but we finally have the new songs ready to go, and we are about to unleash “The Forever Lie”. We’re extremely excited about it and can’t wait to let you all in on it!”
Completing the tracking, mixing and artwork on the album has become problematic with All Else Fails needing additional funding. The pre-release date is scheduled for December 2016 with the full album release set for late winter 2016/early spring 2017.
The band have set up a campaign via IndieGoGo and are offering great perks including alternate personal CD artwork.
Barrett Klesko describes what the funding is and what it will entail below the band ask fans what the band/term means to them.
All Else Fails understands that not all fans can help financially but through sharing their video/this post this may do well to help the band achieve the goal needed to record their new album. With appearances on some huge festivals like Warped Tour and Boonstock and opening for groups like KoRn and Killswitch Engage this is a group who’s campaign will hopefully be successful.
Antimartyr taken from 2013 album Fucktropolis.
Their latest record ‘The Serenity Of Suffering‘ was released not too long ago and now they have released a new music video from said album to keep you enticed and a new reason to pick up the record! Check out ‘Take Me‘ below!
After a return to a much heavier sound that’s been missing on the past 2 KoRn records, the band return to give an album that’s pretty much a snapshot into their career as a band. This has been a grievance to fans of the band including producer Nick Raskulinecz which have made the band return to a classic sound.
Jonathan Davis is heard doing his signature scat on Rotting In Vain which makes the song reminiscent to fans of a track such as Blind or Falling Away From Me. This is something which goes along well with the heavy bass that Fieldy provides and goes perfectly in the direction KoRn wish to re-encapsulate. His voice also takes some quite extreme sounding screams on a track such as The Hating where the band have some of the most powerful lyrics on the record.
The choice to include an acoustic guitar on the intro for a track like The Hating where the lyrics feel much more direct “ripping the child within me” makes the listener delve within the psyche of KoRn, which feels much more direct and powerful. The speed of the track speeding up with the lyrics “an angry mouth with a broken heart” shows the classic depths that the band go to and the warped poetry that the band creates from their best releases. The writing for this album is certainly at one of the highest points in the band’s history (at least since KoRn III: Remember Who You Are).
Within saying this that doesn’t mean the band have got rid of the Industrial sound that the band have been known for on the past two records with lead single A Different World. The most noticeable part of this track is the fact Corey Taylor is included on the record and whilst this might just be seen by casual listeners as just an extra layer to the record, but for KoRn historians the rivalry between KoRn and Slipknot has been at a high point throughout the majority of the band’s career, allowing the group to move forward and progress is quite an important factor into what makes this album special, and whilst a return to the routes is what the fans might ask for, the group have shown here that this release is not as simple as that.
The other musicians however have their moments throughout the course of the album as drummer Ray Luzier goes into some quite heavy patterns especially on the almost funk sounding intro of Take Me where the song becomes instantly disjointed, before the other instrumentals bring it. The dark horse in this band is surprisingly the guitarist (though the band don’t tend to use a lot of solo’s so this can be understandable) of both Munky and Head. The sense of layering in this release however is key to its sound and this can be found on Die Yet Another Night. Where the song is built up by the perfect and most complex riffs on the entire release.
KoRn are a band which have enough peaks and troughs to make most bands careers seem nothing in short, for this release however the band are looking to go in the right direction. What comes next however is anybody’s guess.
Nu-Metal heavyweights Korn have announced a stream of their brand new album in full. The album titled Serenity In Suffering is the follow up to 2013’s Paradigm Shift and you can stream it below. It’s been hailed as return to old school territory for the band, so nu-metal fans what are you waiting for!
Serenity In Suffering is out now on Roadrunner Records.
American Nu-Metal band Korn have released the video for ‘A Different World’ the bands’ latest release from their upcoming album ‘The Serenity Of Suffering’
The song features Slipknot front-man Corey Taylor, who is said to be a close friend of the band. ‘A Different World’ can be watched below:
The Californians upcoming album ‘The Serenity Of Suffering‘ is slated for release on October 21st and is Korn’s first album since 2013’s ‘The Paradigm Shift‘
Korn recently announced a UK arena tour for this December Co-Headlining the event with Limp Bizkit. Korn will be closing all shows and the dates are as follows:
Mon 12th December – Manchester
Wednesday 14th December – Glasgow
Thursday 15th December – Birmingham
Friday 16th December – London
Sunday 18th December – Cardiff
Monday 19th December – Nottingham
Tickets are available for the tour here: http://www.livenation.co.uk/artist/korn-and-limp-bizkit-tickets
Pre-Order ‘The Serenity Of Suffering’ here: http://flyt.it/KORNSOS
Nu-metal pioneers Korn and Limp Bizkit bring their unique brand of down-tuned riffs to the UK this December. You can catch them at the following venues and grab up tickets over at Ticketmaster, with the O2 pre-sale beginning Wednesday 14th , Live National pre-sale on the 15th, and then to the general public on the 16th September.
12 December – Manchester Arena
14 December – Glasgow SSE Hydro Arena
15 December – Birmingham Barclaycard Arena
16 December – London SSE Arena
18 December – Cardiff Motorpoint Arena
19 December – Nottingham Motorpoint Arena
Legendary Metal band KoRn have released their new video for the track Insane. The music video is directed by Ryan Valdez and it’s subject is typically quite intriguing in matter, focusing on post-mortem photography.
The track will appear on KoRn’s new album The Serenity Of Suffering and scheduled for release on 21st October. The album also features an appearance from Corey Taylor on the track A Different World, KoRn’s new album can be preordered – here.
The music video can be viewed below.