Review: Korn’s ‘The Serenity of Suffering’ – A Deep Dive Into the Heaviest Korn Yet
Twelve albums into their 23-year journey, Korn has undoubtedly seen their fair share of stylistic evolutions. From dissonant funk oddities to unlikely disco-metal boy band vibes, to their dark, gloomy, crunge goth period, Korn’s career arc has been anything but predictable. They’ve also ventured into experimental waters, dabbling in dubstep and producing some of the most confusing yet groundbreaking music of their era. One could argue that at some points, the band sounded like the world’s worst Cameo cover band, but that was all part of Korn’s charm. Through it all, Korn has managed to carve a space for themselves in the world of alt-metal, never quite fitting neatly into any single box but forever pushing boundaries.
Now, in 2016, Korn finds themselves in a strange, uncomfortable comfort zone—somewhere between the raw, high-energy sound that defined their 1999 breakthrough and the dark, experimental phase they explored in 2004. With The Paradigm Shift (2013) and their latest offering, The Serenity of Suffering, the band seems to have found a middle ground that balances their early rawness with some of their more polished explorations, without really challenging themselves to reinvent the wheel.
But The Serenity of Suffering isn’t just another album for Korn—it’s a statement of their power. Heavier than The Paradigm Shift and possibly their heaviest album to date, the band dives deep into downtuned riffs that feel like an assault on the senses. Songs like “A Different World” and “When You’re Not There” demonstrate Korn’s ability to maintain their intensity, proving that after more than two decades in the game, they still have the raw aggression that first caught the attention of their massive fanbase.
Frontman Jonathan Davis brings his usual tortured, anguished energy to the album. His vocals traverse through manic scatting, guttural growls, and even death metal-esque shrieks, creating a sense of a vocal house of horrors that fans have come to expect. It’s clear Davis is still as emotionally invested in his music as ever, with his voice dripping with intensity on every track. That being said, the album’s songwriting doesn’t stray too far from what Korn has done in the past, especially if you’ve been following the band for any length of time.
The Serenity of Suffering sticks to a familiar formula that Korn perfected in their prime. “Rotting in Vain” could easily be a gritty reboot of their 1999 classic “Falling Away From Me,” with its heavy, throat-shredding screams and emotional onomatopoeia that scream anguish. “Next in Line” bears striking similarities to “Make Me Bad” from that same era, showcasing Korn’s knack for blending frenetic turntable work (courtesy of C-Minus) with their aggressive, metal-infused sound. It’s the kind of song that fans will recognize and instantly connect with, but it doesn’t necessarily offer anything new.
The lyrics on The Serenity of Suffering are also classic Korn fare. If you’ve listened to at least two Korn songs over the years, you know exactly what you’re getting. Davis’ signature themes of pain, alienation, and self-doubt run rampant throughout the album. In “Take Me,” he sings, “I feel it ripping, I feel it scarring me”—a line that, while impactful, isn’t exactly groundbreaking for Korn at this point in their career. But while the lyrics may be predictable, they continue to resonate with those who’ve followed the band through their ups and downs. Korn may not be reinventing the wheel, but they’re still churning out tunes that resonate deeply with their loyal fanbase.
Where The Serenity of Suffering really shines is in the subtle but effective ways the band plays with their sound. While the album doesn’t push any boundaries in terms of genre or style, it does incorporate some clever, quirky moments that give it an unpredictable edge. For instance, “Black is the Soul” suddenly veers off into a brief but explosive passage that channels the spirit of Helmet, with its sharp, angular riffs providing a welcome moment of chaos before snapping back into Korn’s familiar groove. Meanwhile, “The Hating” concludes with some seriously off-kilter syncopation reminiscent of Primus, along with some screams that feel like they’re coming from deep within Davis’ soul. These surprising twists and turns in the music are what keep the album interesting, even if it’s otherwise firmly rooted in Korn’s established sound.
The standout track of the album, “A Different World,” sees Davis joined by Corey Taylor of Slipknot fame, who brings his own passionate vocal style to the track. The collaboration adds a fresh dynamic to the song, with Taylor’s crooning perfectly complementing Davis’ raw intensity. This collaboration serves as a reminder of Korn’s deep connections within the heavy music community, even as they maintain their own unique identity.
Overall, The Serenity of Suffering is an album that will satisfy long-time Korn fans but might not attract many new listeners. It doesn’t reinvent the band’s formula, but it does refine it. The heaviness is undeniable, and the raw emotion that’s always been a hallmark of Korn’s music is ever-present. While it might not be daring enough to push Korn into new territory, it’s a record that proves the band can still deliver exactly what their fans expect: intense, cathartic, and unapologetically heavy music.
The album doesn’t break any new ground, but it doesn’t need to. The Serenity of Suffering serves as a reminder that Korn can still bring the noise and, more importantly, still do it on their own terms. Korn may not be the genre-defining force they were in the late ’90s and early 2000s, but The Serenity of Suffering shows they’re far from fading into irrelevance. It may be familiar territory for those who have followed the band through thick and thin, but it’s also a testament to the band’s resilience. Korn remains as imposing and ugly as they want to be—and that’s something to be admired.
Leave a Reply