Welcome to Dissected, where we disassemble a band’s catalog, based on the oh-so-exact science of personal opinion, rants, debates, and the love of music. In this installment, we rank Korn’s discography so far, including their latest album, The Nothing.

    Rising out of Bakersfield, California, Korn emerged on the scene in the early 1990s and quite literally changed the face of heavy music. Not many bands can say they helped invent a new genre, but that’s exactly what Korn did as pioneers of nu metal.

    On the heels of festivals like Lollapalooza that featured hip hop, grunge, alternative, and hard rock artists on the same bill, it seemed logical that all of these elements would eventually come together in one group. As singer Jonathan Davis put it in a recent interview with Revolver, “At that time, we were just emulating our influences, Sepultura meets Cypress Hill.”


    With down-tuned chugging riffs played on effects-driven seven-string guitars by Brian “Head” Welch and James “Munky” Shaffer, weird hip-hop inspired noises and funky bass lines provided by Reginald “Fieldy” Arvizu, and the angry and mournful wail of Davis, Korn sounded like no other band before them.

    Davis’ own personal demons are a large part of what has always made Korn so fascinating over the years. He has never been shy about discussing his personal problems in his lyrics, a fact which is equal parts disturbing and endearing. He laid bare his traumatic childhood on their self-titled debut, explored the trappings of fame on Follow the Leader and Issues, and even addressed his grief over the recent passing of his estranged wife on the band’s latest album, The Nothing.

    Overall, this ranking was a difficult task, as Korn have had their experimental moments, such as exploring a more industrial sound on 2005’s See You on the Other Side and teaming up with dubstep artist Skrillex on 2011’s The Path of Totality. Korn have a very solid catalog in their 25-plus years as a band, so after some verbal jousting, we managed to come up with the following ranking of every Korn album from worst to best.

    — Colette Claire


    13. The Path of Totality (2011)

    Korn - The Path of Totality

    Here to Say (Analysis): It is always commendable when a band strives to go outside its comfort zone and expand upon its sound; in the case of Korn’s The Path of Totality, however, the experimentation resulted in a misstep. Presenting a dubstep-infused record, Korn collaborated with such artists as Excision, Noisia, and Skrillex. The Path of Totality is a daring attempt to try something different; blending metal with dubstep allows for moments of catchy adrenaline, guiding the listener through waves of electronica melody. That said, these positive moments pop up throughout the album, rather than make up the material as a whole.

    The Path of Totality mostly comes across as a jumbled-up mess. While the electronic elements are a hit or miss throughout the album’s runtime, where it really falters is in its loss identity. There’s very little about the LP that feels like a Korn album. Even on multiple listens, The Path of Totality feels like it is devoid of meaning or any essence that represents the band. The dubstep component also becomes obnoxious overtime, with some of the tracks lacking creativity.

    Got the Might (Best Song): Featuring dubstep superstar Skrillex, “Narcissistic Cannibal” is not only vibrant and catchy, but it’s also one of the few cuts on the album that captures the emotional depth of the band. Jonathan Davis delivers powerful emotion through his singing and lyrics; when the hook arrives, the track rises into a hypnotic blend of frenzy and melancholy, the combination resonating through the instrumentation.


    Make It Bad (Worst Song): Also featuring Skrillex, “Get Up!” lacks both emotion and songwriting depth. In its presentation, “Get Up!” offers nothing to set itself apart from other cuts on the record, coming across as a generically bombastic presentation. Feeling more like filler, the song is unimaginative in its use of electronic instrumentation, while also providing nothing of substance in either the vocals or lyrics. — Michael Pementel

    12. Korn III: Remember Who You Are (2010)

    Korn - Korn III Remember Who You Are

    Here to Say: Often credited for ushering in the nu-metal sound, Korn certainly have a to which they mostly stick: heavy break downs, rhythmic growling, funky bass, hip-hop inspired beats, guitar squeals, and chunky, down-tuned riffs. Rinse and repeat. Even when they get experimental, it stays in this vein. In a way, this makes Korn dependable, kinda like AC/DC, where what you see is what you get. Unfortunately, Korn III: Remember Who You Are came off as a lesser retread of the band’s early efforts.

    As the first album for Roadrunner Records, it seemed that being on the semi-indie label inspired Korn to go back to their roots. In interviews at the time, Davis claimed the band was moving away from the more progressive albums like See You on the Other Side and the Untitled 2007 album. They even went so far as to go back to working with Ross Robinson, who produced their self-titled debut and Life Is Peachy.

    Despite the fact that Korn III seemed determined to try to recapture the magic of the old days, they say you can never go home, and this seemed to be the case. Even songs like “Lead the Parade” and “Fear Is a Place To Live”, with their funky, crunchy Life Is Peachy-era sound, do not save this album of mostly filler songs.


    Got the Might: With its insistent tempo and straight forward hook and lyrics, “Oildale (Leave Me Alone)” definitely harkens back to Korn’s debut album. Although, on this track it still feels original unlike some of the others on the album. Hearing Davis’ haunting voice clean and not saturated with effects is also a nice change from Korn’s experimental phase. The lyrics reference a rundown area of Bakersfield, California, where Korn are from, keeping with the “going home” theme. This is one of the standout tracks on Korn III and it is obvious why it was chosen as a single.

    Make It Bad: “Pop a Pill” is disjointed in a Life Is Peachy sort of way, but that’s not a good thing on this particular track. It feels very uneven and unfinished. There is also a very hollow sound to the drums that is off putting and is probably a result of the purposely lo-fi sound of the production. The band may have spent too much time trying to recapture the past and not enough on production value and song writing. –– Colette Claire