Noise & Stuff: Korn: Spike In My Veins

10 February, 2014

Korn: Spike In My Veins – new video

The American nu metal institution known as KORN has just unleashed a new video upon this world; Rolling Stone has premiered ‘Spike In My Veins’ video - the site's John Gentile explains: “KORN fight media manipulation with ‘Spike In My Veins’, the tune is “tension-filled”, it “attacks governmental data surveillance and modern information overload” and that “the video reflects the band's mindset”. And then he proceeds:

“From the onset, we see them stomping around a room filled with TV monitors, as the video first cuts to news reports of data surveillance before the broadcast is interrupted with a Justin Bieber report. There’s not-so-subtle images of President Obama walking out to give a Presidential Address that’s spliced with him walking onto Jimmy Fallon's stage and videos of Toronto mayor Rob Ford and New Jersey Governor Chris Christie interrupted by shots of Miley Cyrus and Kanye West. KORN's point is clear: Is news news or just entertainment?” [More here]

For a four and a half minute-long self-explanatory video – that’s a lot of explaining, a “modern information overload”, maybe? And if KORN's point is so clear, why is the point a question? Anyhow, ‘Spike In My Veins’ comes off KORN's eleventh studio album ‘The Paradigm Shift’, issued in October 2013 on Caroline Records/Spinefarm Records. ‘The Paradigm Shift’ sold nearly 46,000 copies its first week of release in the USA alone, to land position number 8 on the Billboard Top 200. The album charted at number 7 in Germany, Austria and Australia, at number 11 in Poland, at number 20 in Denmark and at number 26 in France. The first KORN album to feature original guitarist Brian Welch since 2003's ‘Take A Look In The Mirror’ was produced and mixed by Don Gilmore, engineered by Mark Kiczula and mastered by Brad Blackwood. The album's art was created by Roboto (David D. Navarro). ‘The Paradigm Shift’ awaits you in stores, on iTunes, Amazon etc:

“Replacing the sort of creeping, churning aggression that emanated from their earlier work is a newfound vigor. This makes for a refreshing change of pace from the band, who have been on a real hot streak when it comes to experimenting with their sound. And even though ‘The Paradigm Shift’ might not be the album that listeners might expect after a reunion with “Head” [Brian Welch], it shows the kind of creativity and inventiveness that, love them or hate them, helped to make them an influential force in heavy music. This capacity for change is what has helped KORN to make it this far, and it’s a quality that will probably see them continue to flourish as time goes on,” [wrote Gregory Heaney, AllMusic – more here]

Formed in Bakersfield, California by guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy Snuts” Arvizu, and drummer David Silveria, KORN were known as L.A.P.D. before they met (mortuary science student) Jonathan Davis in 1993. As KORN, they have recorded their debut self-titled album with producer Ross Robinson, with it establishing a new wave of metal (nu metal) as well as starting off Robinson's career. Their 1994's debut, released through Immortal/Epic, peaked at number 72 on the Billboard Top 200 and was eventually certified Gold. KORN's second album, 1996's ‘Life Is Peachy’, reached position number 3 on the Billboard Top 200 and sold in excess of 100,000 copies in its first week; the album was certified Platinum in the U.S., Platinum in Australia and Gold in Canada. KORN's third full-length release, 1998's ‘Follow The Leader’, is credited with bringing nu metal to the mainstream; produced by Steve Thompson and Toby Wright, the album peaked at number 1 on the Billboard Top 200, and conquered Australian, Canadian and New Zealand's charts. ‘Follow The Leader’ was certified Platinum five times in the U.S. alone (and three times in Australia and Canada). 1999's ‘Issues’ propelled KORN straight to the top of American charts. Produced by Brendan O’Brian, the album has reportedly sold over 11 million copies worldwide since its release. KORN's fifth album, 2002's ‘Untouchables’, reached position number 2 on the Billboard 200 Top and had won the band a Grammy for the single ‘Here To Stay’. In 2003, KORN released ‘Take A Look In The Mirror’; the self-produced album entered the Billboard charts at number 19 and peaked at number 9. ‘Take A Look In The Mirror’ was the last album (until now) the group has recorded with guitarist Brian Welch and KORN's last issued on Immortal/Epic. KORN's next Platinum album, 2006's ‘See You On The Other Side’, was released on EMI/Virgin Records. Their last to feature drummer David Silveria was produced by Davis, Atticus Ross and the production team The Matrix. ‘See You On The Other Side’ debuted at number 3 on the Billboard Top 200, and remained on the chart for 34 consecutive weeks. In 2007, KORN released their “untitled album” which reached number 2 on the American charts. For their next record, the band had returned to their first producer, Ross Robinson; ‘Korn III: Remember Who You Are’ was issued on Roadrunner Records in 2010. With it they peaked at number 2 on the Billboard Top 200 (and “remembered who they were just in time to forget it all again on ‘The Path Of Totality’” as put by S.T. Erlewine, AllMusic):

In December 2011, KORN came up with ‘The Path Of Totality’, on which the band explored dubstep and electronic territory with some of the world's leading dubstep and electronic producers and DJs, including Skrillex, Excision, Datsik, Noisia, Kill The Noise and 12th Planet. The album had conquered the U.S. Dance & Electronic Albums chart and had peaked at number 10 on the Billboard Top 200. ‘The Path Of Totality’ sold 55,000 copies during its first week:

“Unexpected this move may be, but not unnatural. KORN always emphasized texture over riffs, so shifting from a gray guitar grind toward claustrophobic electronic collage doesn’t induce shock, apart from the shock that the album actually works. KORN's cast of collaborators … does not redefine the band's character but rather reinterpret it, retaining the same tempos, the same creeping minor-key melodies and riffs, the same sense of enveloping angst that have been present since their 1994 debut. The difference of arrangement - heavy on skittish drums and electro walls of assault - has the curious effect of making KORN seem not adventurous but rather mature… [took the words from my mouth Stephen Thomas Erlewine, AllMusic – more here:]