Chords for Korn - The Serenity of Suffering ALBUM REVIEW
Tempo:
62.95 bpm
Chords used:
Bb
F
G
Abm
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everyone, Anthony Fantano here, the Internet's busiest music nerd,
and it's time for a review of the new Korn album,
the Serenity of Suffering.
Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn.
What can be said now about the California new metal, industrial metal, alternative metal outfit
that has not been said already?
Especially after embarrassingly bad releases like the Skrillex collaboration on the Path of Totality
or See You on the Other Side and
What even is Korn 3?
Was there a trilogy going on that I just like wasn't aware of this whole time?
My feelings on the band have ranged from utter disgust to complete fandom back in the day
when I was really into the band in high school,
but then slowly over time becoming more disillusioned with new metal and the band's increasingly mediocre discography.
But even though I still really can't listen to a lot of Korn's early discography without wondering
what the hell I was thinking,
I tried my best at giving this album a listen and coming at it with a semi-objective opinion.
I think I can say, without having to second-guess myself in any significant way down the road,
that the Serenity of Suffering is one of Korn's better records, one of their best records in a while.
It doesn't seem completely out of touch with what made the band popular in the first place,
like a lot of their 2000s output was.
Instrumentally, Korn brings plenty of crunchy slap basslines on here,
booming, heavy, distorted guitar chords that, of course, some of them are complemented with these
eerie little three- to six-note guitar melodies that hang in the atmosphere of the verses and sound really creepy.
Korn has been recycling these on every single album since, like, Follow the Leader.
Jonathan Davis's growls are still pretty monstrous.
Of course, he does his little, you know, nu-metal scatting that you have probably heard on many a Korn album thus far.
[Bb] ["Growls"]
[F] Sure, there are a few risks the band takes that I think go a little awry,
like when a dance beat kind of pops up in the background,
or one moment where Jonathan Davis was, like, harmonizing a little bit with his voice and it was not sounding good.
But outside of that, I think this has been one of Korn's most solid releases since Issues.
It's not like a high point in their discography or anything,
but it's certainly more tolerable than a bulk of what has been dropped by the band in the past ten years.
And maybe this record is even a conscious effort to do that, given the cover art over here,
which I still not have made complete heads or tails of.
I mean, what is this?
Is that the Issues doll in this kid's hand, and is it dead?
Is that why I see its ribcage?
Is it a ghost?
Is that why there's an ominous glow around it?
And why is this ominous glow surrounding the person holding the doll as well?
Is that person dead?
Is this the ghost of a Korn fan?
Is this a symbol for Korn's once thriving fanbase that is now dwindling with every new album that disappoints again and again and again and again?
On this album, I'm imagining Korn going on this Scooby-Doo style adventure through an abandoned carnival
with a weird giraffe riding a rhino on the merry-go-round.
And they're using their best album in years to resurrect their dead fanbase,
[N] only for the whole adventure to end with this kid in a blue hoodie, like, waving goodbye to them, like,
Bye-bye!
I had a good time, guys!
I love you!
Still, though, I think Korn has a decent set of songs on their hands here,
but I can't ignore the fact that in a lot of ways, I think I've grown out of what the band is providing,
sonically, musically, lyrically.
And pretty much every track on here has a little something that makes me just scream internally.
Like the record-scratching on the intro track, Insane.
You know, of course you're getting that
Wicka-wicka-woo-woo-woo over those huge booming alt-metal riffs.
Record-scratching also turns up on the song Next In Line,
but that track has some really odd verses with these skipping snare drums
and these very quickly strummed guitars that make kind of a droney sound.
It's maybe one of the most experimental things I think Korn has done on a track
But it didn't exactly turn out well
I don't think then we have Corey Taylor of Slipknot doing a guest vocal on the song a different world
One moment his voice even reminds me of David Dramian of disturbed for some reason and it's it's really again
Not a high point for me.
The song take me is
weirdly funky for some reason the
Beat in the background like with the hi-hat playing off the bass drum
It's I don't know
I just don't want to hear Korn sounding too funky the weird robot vocal effects on everything falls apart are
Not really that aesthetically pleasing either and the refrain at the very end of the the [G] the track
There is nothing in my head.
[Abm] There is nothing in my head.
There is nothing in my head.
There is nothing
Yeah, I I wanted to skip that part pretty bad and the angsty
Tortured guitar and vocal intro so bare so skeletal on the intro of the song the hating
There are a lot of tasteless ideas on this thing
But to Korn's credit this is probably how the world
Sounds to somebody [E] who's crazy or has like I don't know some severely damaged
Emotions that they just can't seem to work out.
You may not personally identify with the band's
Downward spiral of pain and sadness that they display on pretty much every record
But I think on this one
They do a pretty effective job of conveying it and I was able to find a couple of songs on this thing that I thought
Were acceptable, you know, nothing.
I really loved from front to back
Nothing I was crazy head over heels for but it's pretty far from the worst thing that they've ever dropped in at this point
Maybe that's all we can really hope for.
I'm feeling a strong 4 to a light 5 on this one
Transition have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best you're the best.
What should I [Am] review next hit the like if you like, please subscribe and please don't cry
just leave an angry comment if you feel like it and
All sorts of links next to my head other videos subscription
Website click on one [N] forever
and it's time for a review of the new Korn album,
the Serenity of Suffering.
Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn.
What can be said now about the California new metal, industrial metal, alternative metal outfit
that has not been said already?
Especially after embarrassingly bad releases like the Skrillex collaboration on the Path of Totality
or See You on the Other Side and
What even is Korn 3?
Was there a trilogy going on that I just like wasn't aware of this whole time?
My feelings on the band have ranged from utter disgust to complete fandom back in the day
when I was really into the band in high school,
but then slowly over time becoming more disillusioned with new metal and the band's increasingly mediocre discography.
But even though I still really can't listen to a lot of Korn's early discography without wondering
what the hell I was thinking,
I tried my best at giving this album a listen and coming at it with a semi-objective opinion.
I think I can say, without having to second-guess myself in any significant way down the road,
that the Serenity of Suffering is one of Korn's better records, one of their best records in a while.
It doesn't seem completely out of touch with what made the band popular in the first place,
like a lot of their 2000s output was.
Instrumentally, Korn brings plenty of crunchy slap basslines on here,
booming, heavy, distorted guitar chords that, of course, some of them are complemented with these
eerie little three- to six-note guitar melodies that hang in the atmosphere of the verses and sound really creepy.
Korn has been recycling these on every single album since, like, Follow the Leader.
Jonathan Davis's growls are still pretty monstrous.
Of course, he does his little, you know, nu-metal scatting that you have probably heard on many a Korn album thus far.
[Bb] ["Growls"]
[F] Sure, there are a few risks the band takes that I think go a little awry,
like when a dance beat kind of pops up in the background,
or one moment where Jonathan Davis was, like, harmonizing a little bit with his voice and it was not sounding good.
But outside of that, I think this has been one of Korn's most solid releases since Issues.
It's not like a high point in their discography or anything,
but it's certainly more tolerable than a bulk of what has been dropped by the band in the past ten years.
And maybe this record is even a conscious effort to do that, given the cover art over here,
which I still not have made complete heads or tails of.
I mean, what is this?
Is that the Issues doll in this kid's hand, and is it dead?
Is that why I see its ribcage?
Is it a ghost?
Is that why there's an ominous glow around it?
And why is this ominous glow surrounding the person holding the doll as well?
Is that person dead?
Is this the ghost of a Korn fan?
Is this a symbol for Korn's once thriving fanbase that is now dwindling with every new album that disappoints again and again and again and again?
On this album, I'm imagining Korn going on this Scooby-Doo style adventure through an abandoned carnival
with a weird giraffe riding a rhino on the merry-go-round.
And they're using their best album in years to resurrect their dead fanbase,
[N] only for the whole adventure to end with this kid in a blue hoodie, like, waving goodbye to them, like,
Bye-bye!
I had a good time, guys!
I love you!
Still, though, I think Korn has a decent set of songs on their hands here,
but I can't ignore the fact that in a lot of ways, I think I've grown out of what the band is providing,
sonically, musically, lyrically.
And pretty much every track on here has a little something that makes me just scream internally.
Like the record-scratching on the intro track, Insane.
You know, of course you're getting that
Wicka-wicka-woo-woo-woo over those huge booming alt-metal riffs.
Record-scratching also turns up on the song Next In Line,
but that track has some really odd verses with these skipping snare drums
and these very quickly strummed guitars that make kind of a droney sound.
It's maybe one of the most experimental things I think Korn has done on a track
But it didn't exactly turn out well
I don't think then we have Corey Taylor of Slipknot doing a guest vocal on the song a different world
One moment his voice even reminds me of David Dramian of disturbed for some reason and it's it's really again
Not a high point for me.
The song take me is
weirdly funky for some reason the
Beat in the background like with the hi-hat playing off the bass drum
It's I don't know
I just don't want to hear Korn sounding too funky the weird robot vocal effects on everything falls apart are
Not really that aesthetically pleasing either and the refrain at the very end of the the [G] the track
There is nothing in my head.
[Abm] There is nothing in my head.
There is nothing in my head.
There is nothing
Yeah, I I wanted to skip that part pretty bad and the angsty
Tortured guitar and vocal intro so bare so skeletal on the intro of the song the hating
There are a lot of tasteless ideas on this thing
But to Korn's credit this is probably how the world
Sounds to somebody [E] who's crazy or has like I don't know some severely damaged
Emotions that they just can't seem to work out.
You may not personally identify with the band's
Downward spiral of pain and sadness that they display on pretty much every record
But I think on this one
They do a pretty effective job of conveying it and I was able to find a couple of songs on this thing that I thought
Were acceptable, you know, nothing.
I really loved from front to back
Nothing I was crazy head over heels for but it's pretty far from the worst thing that they've ever dropped in at this point
Maybe that's all we can really hope for.
I'm feeling a strong 4 to a light 5 on this one
Transition have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best you're the best.
What should I [Am] review next hit the like if you like, please subscribe and please don't cry
just leave an angry comment if you feel like it and
All sorts of links next to my head other videos subscription
Website click on one [N] forever
Key:
Bb
F
G
Abm
E
Bb
F
G
Hey everyone, Anthony Fantano here, the Internet's busiest music nerd,
and it's time for a review of the new Korn album,
the Serenity of Suffering.
Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn.
What can be said now about the California new metal, industrial metal, alternative metal outfit
that has not been said already?
Especially after embarrassingly bad releases like the Skrillex collaboration on the Path of Totality
or See You on the Other Side and_
What even is Korn 3?
Was there a trilogy going on that I just like wasn't aware of this whole time?
My feelings on the band have ranged from utter disgust to complete fandom back in the day
when I was really into the band in high school,
but then slowly over time becoming more disillusioned with new metal and the band's increasingly mediocre discography.
But even though I still really can't listen to a lot of Korn's early discography without wondering
what the hell I was thinking,
I tried my best at giving this album a listen and coming at it with a semi-objective opinion.
I think I can say, without having to second-guess myself in any significant way down the road,
that the Serenity of Suffering is one of Korn's better records, one of their best records in a while.
It doesn't seem completely out of touch with what made the band popular in the first place,
like a lot of their 2000s output was.
Instrumentally, Korn brings plenty of crunchy slap basslines on here,
booming, heavy, distorted guitar chords that, of course, some of them are complemented with these
eerie little three- to six-note guitar melodies that hang in the atmosphere of the verses and sound really creepy.
Korn has been recycling these on every single album since, like, Follow the Leader.
Jonathan Davis's growls are still pretty monstrous.
Of course, he does his little, you know, nu-metal scatting that you have probably heard on many a Korn album thus far.
_ [Bb] ["Growls"]
_ [F] Sure, there are a few risks the band takes that I think go a little awry,
like when a dance beat kind of pops up in the background,
or one moment where Jonathan Davis was, like, harmonizing a little bit with his voice and it was not sounding good.
But outside of that, I think this has been one of Korn's most solid releases since Issues.
It's not like a high point in their discography or anything,
but it's certainly more tolerable than a bulk of what has been dropped by the band in the past ten years.
And maybe this record is even a conscious effort to do that, given the cover art over here,
which I still not have made complete heads or tails of.
I mean, what is this?
Is that the Issues doll in this kid's hand, and is it dead?
Is that why I see its ribcage?
Is it a ghost?
Is that why there's an ominous glow around it?
And why is this ominous glow surrounding the person holding the doll as well?
Is that person dead?
Is this the ghost of a Korn fan?
Is this a symbol for Korn's once thriving fanbase that is now dwindling with every new album that disappoints again and again and again and again?
On this album, I'm imagining Korn going on this Scooby-Doo style adventure through an abandoned carnival
with a weird giraffe riding a rhino on the merry-go-round.
And they're using their best album in years to resurrect their dead fanbase,
[N] only for the whole adventure to end with this kid in a blue hoodie, like, waving goodbye to them, like,
Bye-bye!
I had a good time, guys!
I love you!
Still, though, I think Korn has a decent set of songs on their hands here,
but I can't ignore the fact that in a lot of ways, I think I've grown out of what the band is providing,
sonically, musically, lyrically.
And pretty much every track on here has a little something that makes me just scream internally.
Like the record-scratching on the intro track, Insane.
You know, of course you're getting that
Wicka-wicka-woo-woo-woo over those huge booming alt-metal riffs.
Record-scratching also turns up on the song Next In Line,
but that track has some really odd verses with these skipping snare drums
and these very quickly strummed guitars that make kind of a droney sound.
It's maybe one of the most experimental things I think Korn has done on a track
But it didn't exactly turn out well
I don't think then we have Corey Taylor of Slipknot doing a guest vocal on the song a different world
One moment his voice even reminds me of David Dramian of disturbed for some reason and it's it's really again
Not a high point for me.
The song take me is
weirdly funky for some reason the
Beat in the background like with the hi-hat playing off the bass drum
It's I don't know
I just don't want to hear Korn sounding too funky the weird robot vocal effects on everything falls apart are
Not really that aesthetically pleasing either and the refrain at the very end of the the [G] the track
There is nothing in my head.
[Abm] There is nothing in my head.
There is nothing in my head.
There is nothing
Yeah, I I wanted to skip that part pretty bad and the angsty
Tortured guitar and vocal intro so bare so skeletal on the intro of the song the hating
There are a lot of tasteless ideas on this thing
But to Korn's credit this is probably how the world
Sounds to somebody [E] who's crazy or has like I don't know some severely damaged
Emotions that they just can't seem to work out.
You may not personally identify with the band's
Downward spiral of pain and sadness that they display on pretty much every record
But I think on this one
They do a pretty effective job of conveying it and I was able to find a couple of songs on this thing that I thought
Were acceptable, you know, nothing.
I really loved from front to back
Nothing I was crazy head over heels for but it's pretty far from the worst thing that they've ever dropped in at this point
Maybe that's all we can really hope for.
I'm feeling a strong 4 to a light 5 on this one
Transition have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best you're the best.
What should I [Am] review next hit the like if you like, please subscribe and please don't cry
just leave an angry comment if you feel like it and
All sorts of links next to my head other videos subscription
Website click on one [N] forever _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
and it's time for a review of the new Korn album,
the Serenity of Suffering.
Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn, Korn.
What can be said now about the California new metal, industrial metal, alternative metal outfit
that has not been said already?
Especially after embarrassingly bad releases like the Skrillex collaboration on the Path of Totality
or See You on the Other Side and_
What even is Korn 3?
Was there a trilogy going on that I just like wasn't aware of this whole time?
My feelings on the band have ranged from utter disgust to complete fandom back in the day
when I was really into the band in high school,
but then slowly over time becoming more disillusioned with new metal and the band's increasingly mediocre discography.
But even though I still really can't listen to a lot of Korn's early discography without wondering
what the hell I was thinking,
I tried my best at giving this album a listen and coming at it with a semi-objective opinion.
I think I can say, without having to second-guess myself in any significant way down the road,
that the Serenity of Suffering is one of Korn's better records, one of their best records in a while.
It doesn't seem completely out of touch with what made the band popular in the first place,
like a lot of their 2000s output was.
Instrumentally, Korn brings plenty of crunchy slap basslines on here,
booming, heavy, distorted guitar chords that, of course, some of them are complemented with these
eerie little three- to six-note guitar melodies that hang in the atmosphere of the verses and sound really creepy.
Korn has been recycling these on every single album since, like, Follow the Leader.
Jonathan Davis's growls are still pretty monstrous.
Of course, he does his little, you know, nu-metal scatting that you have probably heard on many a Korn album thus far.
_ [Bb] ["Growls"]
_ [F] Sure, there are a few risks the band takes that I think go a little awry,
like when a dance beat kind of pops up in the background,
or one moment where Jonathan Davis was, like, harmonizing a little bit with his voice and it was not sounding good.
But outside of that, I think this has been one of Korn's most solid releases since Issues.
It's not like a high point in their discography or anything,
but it's certainly more tolerable than a bulk of what has been dropped by the band in the past ten years.
And maybe this record is even a conscious effort to do that, given the cover art over here,
which I still not have made complete heads or tails of.
I mean, what is this?
Is that the Issues doll in this kid's hand, and is it dead?
Is that why I see its ribcage?
Is it a ghost?
Is that why there's an ominous glow around it?
And why is this ominous glow surrounding the person holding the doll as well?
Is that person dead?
Is this the ghost of a Korn fan?
Is this a symbol for Korn's once thriving fanbase that is now dwindling with every new album that disappoints again and again and again and again?
On this album, I'm imagining Korn going on this Scooby-Doo style adventure through an abandoned carnival
with a weird giraffe riding a rhino on the merry-go-round.
And they're using their best album in years to resurrect their dead fanbase,
[N] only for the whole adventure to end with this kid in a blue hoodie, like, waving goodbye to them, like,
Bye-bye!
I had a good time, guys!
I love you!
Still, though, I think Korn has a decent set of songs on their hands here,
but I can't ignore the fact that in a lot of ways, I think I've grown out of what the band is providing,
sonically, musically, lyrically.
And pretty much every track on here has a little something that makes me just scream internally.
Like the record-scratching on the intro track, Insane.
You know, of course you're getting that
Wicka-wicka-woo-woo-woo over those huge booming alt-metal riffs.
Record-scratching also turns up on the song Next In Line,
but that track has some really odd verses with these skipping snare drums
and these very quickly strummed guitars that make kind of a droney sound.
It's maybe one of the most experimental things I think Korn has done on a track
But it didn't exactly turn out well
I don't think then we have Corey Taylor of Slipknot doing a guest vocal on the song a different world
One moment his voice even reminds me of David Dramian of disturbed for some reason and it's it's really again
Not a high point for me.
The song take me is
weirdly funky for some reason the
Beat in the background like with the hi-hat playing off the bass drum
It's I don't know
I just don't want to hear Korn sounding too funky the weird robot vocal effects on everything falls apart are
Not really that aesthetically pleasing either and the refrain at the very end of the the [G] the track
There is nothing in my head.
[Abm] There is nothing in my head.
There is nothing in my head.
There is nothing
Yeah, I I wanted to skip that part pretty bad and the angsty
Tortured guitar and vocal intro so bare so skeletal on the intro of the song the hating
There are a lot of tasteless ideas on this thing
But to Korn's credit this is probably how the world
Sounds to somebody [E] who's crazy or has like I don't know some severely damaged
Emotions that they just can't seem to work out.
You may not personally identify with the band's
Downward spiral of pain and sadness that they display on pretty much every record
But I think on this one
They do a pretty effective job of conveying it and I was able to find a couple of songs on this thing that I thought
Were acceptable, you know, nothing.
I really loved from front to back
Nothing I was crazy head over heels for but it's pretty far from the worst thing that they've ever dropped in at this point
Maybe that's all we can really hope for.
I'm feeling a strong 4 to a light 5 on this one
Transition have you given this album a listen?
Did you love it?
Did you hate it?
What would you rate it?
You're the best you're the best.
What should I [Am] review next hit the like if you like, please subscribe and please don't cry
just leave an angry comment if you feel like it and
All sorts of links next to my head other videos subscription
Website click on one [N] forever _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _