It actually sounds like all of the tracks that make up “The Serenity of Suffering” have been based around what they’ll sound like live. The production that went into this album is clearer than ever, but still murky enough to deliver the pulverising bottom end, where Reg “Fieldy” Ardizu dwells. Having used these angst topics of self-loathing, hurt, abuse and crudeness for pretty much their entire career, the style has become overly familiar for Camp Korn, but despite this, Jonathan Davis really is on top form on “The Serenity of Suffering”.Īs for progression, there isn’t really any. Corey Taylor (Slipknot, Stone Sour) also adds his lungs in ‘A Different World’ that increases the anger level already set by Korn. ‘Take Me’ relies more on an childlike purring towards the last half of the song that’s quite weird to listen to in the midst of his clearer, clan vocals. Davis also uses his perverting, lighter vocals on ‘Black Is The Soul’ and ‘Come for Me’ alongside his gruffer growls with equal proficiency. ‘The Hating’ confronts controlling urges of self harm where Ray Luzier’s drums do a total back flip at the breakdown, cutting into a short, razor sharp rhythm that are strengthened by the itching guitars which represent the total lack of control the lyrics depict. Other factors that signal the resurrection of Korn are recognizable characteristics like Jonathan Davis’s dark lyrics and uncanny vocal delivery. The latter even incorporating Jonathan Davis’s retarded monkey noises that are used on ‘Twist’ (Life is Peachy) that will certainly gain a welcoming response. This familiar billowy tone continues throughout the album, peaking on tracks such as ‘Die Yet Another Night’ and ‘Rotting In Vain’. Right from the opener, ‘Insane’, Korn rolls up their tracksuit sleeves and knuckle down to business: there’s an eerie atmosphere, infectious chorus and THOSE bulgy riffs that announce Korn are consequently back to their roots. The amount of steamrolling riffs that he and James “Munky” Shaffer cram into this album in is genuinely reassuring.
It’s safe to say that Brian “Head” Welch saved the band in this dramatic period as Korn’s hefty rebirth is mimicked only by the guitarist’s newfound faith in God, quoting that he “feels born again”. On this album, Korn don’t just display a few features of their better days like they did with “The Paradigm Shift”, this album sounds like an actual revival of the band. The one feature that surrounds Korn’s twelfth album, “The Serenity of Suffering”, is rebirth. But mercifully, Korn used their ‘Head’ 2 years later and released “The Paradigm Shift”, which shifted back to their cherished riff driven, creepier vibes. The bridge between those who thought it was a good experimental album and the opposing heretical reaction was so feeble that the band nearly fell beneath the pressure. Korn were on the verge of collapse with “The Path of Totality” in 2011. This is Mtv's worst Unplugged album, sonically, by a long shot.Review Summary: Korn use their Head again. This album is Hot! (Oops! I owe Paris $.05 for copyright) I didn't bother to put it on the ol' SoundForge® because I won't spend much more of my life listening to it, but suffice to say everything from the audience clapping to the cello to the drummer drumming are all the exact same volume. Doing a live album will give a much more natural sound to singers, and in this day of awful album engineering such can be a good thing ( Norah Jones is unlikely to clip when you hear 'I want to see you again' at a live show.) But Davis as a songsinger needs studio polish. Poor range, oftentimes nasaly, and with a minor lisp he has no hope of ever going to Hollywood on American Idol. Listening to this and Rodrigo Y Gabriela B2B is not recommended. Years of playing power-chord metal have grossly affected their skillz. Clapton & Nirvava both aware that much of what they were famous for would sound like ass on acoustic instruments, so their playlists were heavy into other peoples property. *unwisely Korn decides to sing their own songs. *Soundstage good, nobody floating around here. Although this 'unplugged' album is using an electric bass. It is my current belief that studio multi-tack hates bas sguitar and drums and is responsible for both instruments having the dull, lifeless, "wood spoon on mashed potatos" sound.