With Grunge’s popularity peaking in the early ’90s, a new breed of Rock soon followed with the birth of Nu Metal. Somewhat of a taboo word in the Rock-n-Roll world, one of the originators of Nu Metal sound without question are California’s Korn. Formed nearly thirty years ago, Korn turned early success with albums such as their 1994 self-titled, 1996’s Life Is Peachy, and 1998’s Follow the Leader and spearheaded it into a career full of longevity and growth. Having a huge international fanbase, won quite a bit of awards, played countless shows, and consistently releasing new music, Korn are legends of Alternative Metal. Keeping with their prolific track record, Korn now returns in 2022 with their latest album Requiem.
Released on Friday, February 4th through Loma Vista, Requiem marks the band’s fourteenth studio album and is a direct follow up to 2019’s The Nothing. Interestingly enough the album was reportedly completely written as of April of 2021, but due to all the COVID-19 issues in the world, time allowed Korn the ability to do things they have wanted to for some time. What does this mean? Well, it means there was not as much pressure to wrap up the writing, recording, and mixing within a certain time frame to get back out on the road. Doing such Korn were able to recording to analog tape; a lost art in the age of digital convenience.
Now some might say, but Fieldy is on hiatus, so his bass work is not on Requiem…so how good can it be? Answering that question, the bass tracks were recorded prior to his announced hiatus, so Requiem is complete with Fieldy on bass, Munky and Head on guitars, Ray Luzier on drums, plus Jonathan Davis on vocals. With the gang all in place they turned to Chris Collier as the full-time engineer/producer to work with them to bring Requiem to life the way they saw fit. Which leaves the real burning question, did time and attention to details really pay off?
Complete with 9 tracks that latest just over 30 minutes, there is plenty to sink your teeth into it. From the opening of “Forgotten,” featuring signature heavy bass that sets the mood for Korn, you also have the melodic vibes and personal lyrics of “Let the Dark Do the Rest” and “Start the Healing.” All featuring strong, catchy arrangements, with rougher moments in-between, there are also tracks such as “Lost in the Grandeur” which swaying back and forth like waves in the ocean, and “Disconnect” which is complete with an impressively grand sound.
Later on you have “Hopeless and Beaten” featuring shouted and growled vocals as the bridge and in the background, which adds a sinister touch, but also the typical intensity of Korn with “Penance to Sorrow” and “My Confession”; both of which include lots of shouting during bridge and chorus. Lastly, “Worst is on its Way” closes Requiem with just the perfect amount of darkness and ferociousness.
Overall, each of the 9 songs on Requiem has it’s own character and sound. Some may seem calmer and friendlier, while others are more filled with an edgy and rageful tone. This is while the lyrics tell stories and draw pictures, and while the album might seem short in its duration, it is rich in details. That is why Cryptic Rock agrees the time put in was worth it and gives Requiem 5 out of 5 stars.
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