Korn - Follow the Leader (1998)

With regard to this album, I was a little ignorant to the fact that there is a one-minute silence (in respect for a fan called Justin after whom Track 22 is named) spread across the first twelve songs. Ultimately I thought something was wrong with the disc - stupid me! But I have learnt my mistake, and here is the review for songs 13-25.
Creeping in with some guitar sounds worthy of Pokemon's Lavender Town is It's On!, a real headbanger once the chorus kicks in, stepping down on the volume (but not the tension) for a moment, before drawing itself out and straight into the truly iconic Freak on a Leash. I have noticed while doing this review that this song is a lot slower and less audibly powerful than the rest of the album, but this only increases the potency - and piles it all into the breakdown, weighted with insistent guitar notes and Jon's characteristic 'gibberish'.
Hot on the heels of one classic great comes another in the form of Got the Life, a bass-heavy rollercoaster of rhythm, sound and volume which I've come to appreciate with time (much like a good wine). On the opposite end is Dead Bodies Everywhere, a song I heard live, had never heard before, and love alot now, starting with a childishly sinister ice cream van intro - picking up the running theme of child abuse - and driving quickly into the heart of the whole ensemble with heavy guitar and vocals.
At the midway point we find another classic mash-up of rap and metal - Children of the Korn, featuring Ice Cube - contrasting rap with Jon's raw shouts, and wrapping it up in a simple medley of Korn-esque drum and droning guitars. Following this is B.B.K. and Pretty, both encompassing the style iconic of Korn, until All in the Family comes flying in our faces. This comic back and forth insult match between Fred Durst of Limp Bizkit and Jon Davis is unlike anything I'd heard before. The backing changes accordingly with the vocalist (simplistic swagger for Fred, heavier guitars for JD), and a stomping chorus to unite the two. I had to laugh as it all wound down, though - listen and you'll hear why.
Reclaim My Place is another classic, guitar-heavy tune, chased up by the psychedelic Justin, and then shadowed by Seed. This disturbing song is one of my favourites, Jon's vocals coming out hollow against eerie guitar notes at first, but sounding much cleaner by the chorus - that is until we are assaulted by not one but two psychotic and confused breakdowns of vocal and instrumental chaos.
The third guest starring sees Tre Hardson of Pharside treating us to vocals cooler but almost as slithery as Jon's, in Cameltosis, JD smoothly delivering his classic hatred on the side.
And to end, My Gift to You, a slower, haunting song, laced with Jon's drawn out and cracked voice, and his whispered backing over a dominant guitar/drum tune. As with all good Korn songs, we need a dose of undiluted agony, injected in the form of Jon's screamed line 'I hate you, can't you feel the pain?' and so to the end - a hidden track titled 'Earache my Eye' featuring Cheech Marin: I have no comment.
Hope you enjoyed this!

Korn - Life is Peachy (1996)

In a follow-up to Korn's monumental debut came Life is Peachy, still clinging to the unsettling roots of its predecessor. 

Bursting into life with the iconic confusion of Twist, a testament to Jon's imagination with his maniacal gibberish explosion, shadowed by the schizophrenic highs and lows of Chi, never better than when they are nailed in place by Jon's characteristic and abrasive screams.

Swallow dominates my mind for being so sickly addictive, seeming to slide down the spine and seize you by the throat in turns, and is not content with laying its creeping unease to rest until Porno Creep (in all of its 2 minute glory) draws to a close. 

Only then are the ears assaulted by the haemorrhagic-force gut punch that parts of Good God delivers in the shape of Jon's acid-strength screams.

At the half-way mark, we find Mr Rogers, my identified album lynch pin. This song embodies the abuse theme with its sinister undertones of paedophilia, being a confused mixture of tone and sound, hanging by a thread on one of two uncertain pauses, and laced throughout with Jon's mental hysteria and tiny voices. As if in response to this comes (I will try to type this correctly) K@#0%!, which in one sentence can be described as like a child saying every dirty word he can think of - and the effect is quite funny.

We see a guest appearance by Chino Moreno for Wicked, which lives up to its name as a fun rock-rap intercepted by Jon jumping in with his signature raw breakdown.

The unforgettable A.D.I.D.A.S. has meant I will never see the sports brand the same way again, while Lost, No Place to Hide, and Ass Itch make for classic Korn filler tracks. 

Lowrider is a confusing one, which I pass over in favour of the softer finish brought on by Kill You, a slowly boiling pot of murderous anger, resonant guitars and hysterical laughter, tailing off on a sad and suspenseful note by 5 minutes, before we are treated to the solo lyrics of Twist.

This was my second to last Korn album purchase, but as you can probably tell the next review will be in release order, so say hello to Follow the Leader when I get around to it, and thanks again for reading!