Anyone that’s familiar with Korn’s catalogue knows that they’ve been on a bit of a tangent with their style since “Issues.” Three of their last four releases have been widely experimental and their foray back into their old school style on “Take A Look In The Mirror” was good but not up to standard. That is far from the case with “III: Remember Who You Are.” This is easily their best in a long time, and even with only 3 remaining original members (the reason behind the III in the title perhaps?) they bring the fierceness that defined their early work. Fieldy’s bass has his signature down-tuned clicking, Davis’ vocals are more raw then they’ve been in nearly a decade, and Munky’s guitar prowess has come a long way.
Kicking off with “Oildale”, a song with an incredible drum beat, drilling riff and heavy bass line, the intensity builds with each verse and chorus and as I said in my review of their May 10th concert in NYC, this song showed promise for the new album, and it opens it up with a blast.
“Pop a Pill” is a quirky tune with a theme centered on the addiction of prescription pills. Musically, it falls right in line with song structures prominent on their self titled album and “Life Is Peachy” with edgy verses and choruses, and angst driven interludes. “Move On” also channels the style of “Life Is Peachy” with a little bit of “Take A Look…” mixed in as well.
“Lead The Parade” is a writhing nearly frantic tune that may stand as one of Korn’s more intense songs. With an emotionally charged theme and wild instrumentals, this song begs for a wild live reputation .
As far as being radio friendly, aside from “Oildale,” there are a couple of songs that could easily make a killing on the radio. These songs would be “Fear Is A Place to Live” or “Let The Guilt Go.” Aside from a small need for radio edit in each (use of the FCC dreaded “Fuck”) these songs are true to the formula Korn has thrived on for years to make a hit, save for some missed scat singing or bagpipe play.
There’s one thing I have yet to mention about this album which makes it stand out and it’s Ray Luzier’s drumming. He ever so slightly speeds things up just enough to keep their style modernized and not sounding stale. He also adds a new dynamic which makes the band sound fresh and rejuvenated.
Finally is “Holding All These Lies” which starts off and features a semi speed/groove metal riff, totally uncharacteristic of Korn’s prior work and quite the way to kick off the closer. The song then ventures into Korn’s familiar closing territory with Davis’ anguished screams and growls. Don’t take those comments as me bashing the band, I’m just telling it for what it is.