The Birth of a New Sound
When Korn hit the scene in 1994, nobody could slot them into a tidy genre. Frontman Jonathan Davis remembers walking onto stages with No Doubt, Pennywise, and even industrial act KMFDM, wondering why the metal crowd seemed both curious and confused. ‘We were outcasts,’ he told Kerrang!. ‘Nobody knew what to do with us. We had heavy, distorted guitars, but we were also bringing in hip‑hop beats and a bagpipe‑like vocal style.’
That weird mix made the band a puzzle for record execs and fans alike. Davis admits he spent years hating the tags that stuck to them – “We’re not a metal band,” he would say, only to be slapped with the term “nu‑metal” the same instant. The label felt like a cage, a way for critics to box in something that was meant to be chaotic.
But the underground backlash turned into a tidal wave. As more bands started borrowing Korn’s blend of down‑tuned riffs, rap‑style verses, and industrial samples, the so‑called “nu‑metal” scene exploded. Davis now laughs at the irony: ‘If we invented nu‑metal then fuck yeah, cool.’ He acknowledges that while other groups helped shape the era, Korn was the spark that lit the whole movement.
The Nothing and Korn’s Enduring Legacy
Fast forward to September 13, when the band dropped their latest album, The Nothing, on Roadrunner Records. Davis describes it as the most personal record they’ve ever made. The songs are steeped in darkness, grief, and a raw honesty that feels like a continuation of the band’s willingness to break rules.
What makes the new record stand out is how it links back to that original outsider spirit. Tracks shuffle between crushing riffs and eerie synths, echoing the experimental vibe of their debut while adding a matured lyrical depth. Davis says the album is less about fitting into any scene and more about expressing the pain that’s been building for years.
Even after a quarter‑century, Korn’s influence is still evident. Younger metal outfits cite the band as a primary inspiration, and festival line‑ups constantly feature acts that owe a debt to that early, genre‑defying sound. Davis’s pride in the legacy is clear – he sees Korn not just as a band that rode a wave, but as the architects of the last big metal movement.
So, is nu‑metal dead? Davis thinks of it less as a genre and more as a mindset: “If you’re still willing to smash expectations, you’re keeping the spirit alive.” With The Nothing delivering both nostalgia and fresh aggression, Korn proves that being an outcast can turn into an empire that reshapes heavy music for generations.
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