Korn
The Serenity of Suffering
(Roadrunner Records)
The Serenity of Suffering is way more fun than it has any right to be. This is Korn’s 12th album, and it’s miles ahead of anything they’ve produced in a long time, at least since their fans were still wearing JNCOs (please don’t wear those in 2016). The long-running nu-metal band has been one of the brighter spots of their musical movement, and while I personally wasn’t the biggest Korn fan, their best songs were certainly some of the best that nu-metal had to offer (jokes on the scene overall, notwithstanding). Their raw exhibition of sonic and lyrical aggression won them a legion of loyal fans. So while The Serenity of Suffering may be Korn’s best record in recent memory, is fact alone enough to make a successful album?
Make no mistake, this is probably the heaviest the group has ever sounded, and the fact that this is guitarist Brian “Head” Welch’s second record back with Korn after an awkward period away is no coincidence. The eerie guitar effects and punishing grooves are certainly back in big supply, and while Korn hasn’t completely abandoned its electronic dalliances, this is a record that could easily slide into the band’s late 90s/early 00s discography with no surprise. It feels like The Serenity of Suffering is the fruit of Untouchables, and much of this album has that record’s desire for bigger, bolder songs. The album’s two best tracks are the two lead-off tunes, and they feel like they’re straight out of the Follow the Leader sessions. The expert uses of creeping melodies and earth-shattering low-end make for two memorable, punishing tunes that recall Korn’s classic era without completely aping their own style.
The album, despite its emphasis on being heavy, is impressively diverse. There is a good mix of Korn’s patented styles; however, their over-reliance on the quiet and creepy verses to heavy hooks and breakdowns is a bit limiting. This is most evident on “A Different World”, with its boring verses contrasting starkly with the heavy chorus and nice Corey Taylor feature. Elsewhere, “The Hating” emphasizes a funky bass-line that plays perfectly into a rollicking riff, even if the resulting chorus falls a tad flat. As the record goes on, it’s pretty clear that this a top-heavy album, and the second half just doesn’t hold up. It’s unclear if this is due to the band’s formula wearing thin over the album’s runtime, but it feels like the first half is just more direct, heavy, and hooky.
Of course, no matter how fun The Serenity of Suffering is, it’s impossible to deny how often it just feels ridiculous. Nu-metal’s merging of groove and thrash metal with hip hop was always a silly concept, and hearing turntables on a metal record will never not illicit a laugh. Hell, metal is often intentionally not supposed to be taken at face value, so it’s not like it’s a problem only nu-metal encounters, but when we’re dealing with dreads-wearing middle aged men still pumping out angsty anthems, there will sometimes be issues. Jonathan Davis’ lyrics are still cringe-worthy, and the opening lines of “Rotting in Vain” slightly derail what is otherwise a fun sonic sequel to “Freak On a Leash”. Too often, Davis’ vocal gymnastics take away from an otherwise enjoyable experience: the weird roars that cap “The Hating” and the dizzyingly annoying bridge on “Everything Falls Apart” are two notable examples. Sometimes it works. On the funky breakdown of “Next in Line”, Davis’ shenanigans are effective. It’s a shame because Davis’ melodic and harsh vocals are otherwise on point, and this album has some really hooky choruses, but the moments that don’t work are glaring and really detract from the experience.
So where does that leave Korn’s 12th album? Am I too harsh on what feels like the band’s best output in years? It definitely feels like a surprisingly fantastic album until “Everything Falls Apart”, where the album falls apart until more strict scrutiny. What you can definitely say is this is Korn at its most abashedly Korn-y. The riffs are the heaviest they’ve ever been. The eerie, electronic atmosphere is certainly prevalent, and Jonathan Davis’ trademark vocals and teenager diary-style lyrics are there in spades. Overall, it’s a bit uneven, but if you can get past how silly it all is, at least this is an enjoyable, if flawed, ride.
Purchase The Serenity of Suffering on iTunes.
