Untouchables in Bloomington, MN

After a three-year break that included solo projects and soundtrack work,
Korn
's re-emergence in the summer of 2002 was met with great anticipation. They delivered
Untouchables
, an album that shows them building on their previous sound and emphasizing its strengths. The use of melody is more important than ever, allowing
Jonathan Davis
to utilize his wide palette of vocal tricks. His charismatic voice can now move from a clear-throated wail to a
death metal
growl with ease, lending the album a manic side that brings to mind
King for a Day, Fool for a Lifetime
-era
Faith No More
. The only problem with
Davis
is his lyrics, which tend to fall into the "am I going crazy" trap that many of
's contemporaries perpetuate. This is a shame, because here he often avoids the social issues that he confronted on the first few releases. The band is far more experimental this time out, delivering
Helmet
-like ringing guitars that melt and morph into each other, a mix of
Metallica-esque
blastbeats and tight
funk
drumming from the constantly improving
David Silveria
, and memorable riffs that take the shape of dark sound structures and offer more than just a collection of chords. In fact, it is the last point where the album sets itself apart from most
nu-metal
offerings;
understand that the overall sound of
hip-hop
works because of the sonic stew that producers create through samples. The band does the same with instruments, cutting the chugging riffs of the past and replacing them with edgy soundscapes that are equally as menacing. There isn't even a rapped verse here, save for
' rhythmic scatting at moments, further distancing the band from the scene it helped create. But by cutting away some of the fat and finding new ways to deliver their trademark roar,
manage to offer a strong and lean album that maintains their place as innovators in a genre with few leaders. ~ Bradley Torreano