There were guitar tones that sounded like two stomachaches rubbing together. There were bass and drums that made me think of a skeleton playing with itself.
And on top of it all was this gibbering, snarling, whispering rag doll, reciting nursery rhymes and singing about how he gets called a pussy. In the first song on the album, this dude screamed a thought I had pretty much every day of my childhood: What if I should die?
How did it sound like all the creepy things in my head? Was I allowed to say any of these words? This was, in my 13 -year-old mind, what heavy music was supposed to be: raw, offensive, confusing, revealing, and upsetting. In a good way. Faget has three of these moments, each of them coming from Jonathan Davis. Faget is the epitome of Korn and, indeed, this record: a voice for the voiceless, the oppressed punching upwards. You can pre-order it now on iTunes and get Rotting In Vain right away.
He pulled it out of him. I think later on, in other records, he was, like, trying to abuse him [ laughs ] to get that twisted vibe out. I think I was just letting shit go and he was just going with it. I remember him starting to bring up my stepmom, which I hated, and all kinds of shit like that. Shit that he knew pushed my buttons and got me going. Davis: He figured out his production style on us. And then he just went and took it to the next level with other bands.
Silveria: He was basically like an educated cheerleader, if you will. Does that make sense, like, an educated cheerleader? Robinson: I was always pushing my health stuff on them. It was really sweet. Davis: Aw, fucking Ross and his wheatgrass. That motherfucker would sit there and make us drink wheatgrass. He came and knocked so much to my head when we did Life Is Peachy that I went vegetarian for a year. It was fucking disgusting.
Why is it healthy for you? Why does it taste like this? This is horrible! Fieldy: I drink it here and there. But not really. Davis: That started because when we were doing the demos, I think it was W. So when W. And he gave us wheatgrass to keep us up. Fucking funny, huh? Silveria: I drank the shit out of [the wheatgrass]. Robinson: David was a hardcore health guy and his fire on the drums absolutely, percent made that album. It was based on the pull and push of Jon. Head: [The recording of Korn ] has like an emptiness feel when I think back to it.
I was in a place of just emptiness. We just started. Should I tell her to keep it? Should we stay together and keep it? Should we adopt the baby out? It was crazy. Head: It was one of the most intense things I ever witnessed in my life.
But it was very, very intense. Silveria: When we ended the song, Jonathan was still crying…I could see him through the window, from the drum booth. So we just kept going. I put a delay on that last little bit of tape and we mixed it. We had to mix it letting the tape roll off like that. And James continuing the song with the sobbing… They were so good at jamming.
That whole long ending is just a jam. Davis: And I remember that moment, when I came out of there, and I was fucking sobbing, my whole band was crying, and they just all hugged me and shit. We were all a band of brothers. We were like the fucking Three Musketeers — everybody was there for all their parts. It is regarded as the first album of this genre. The band has been said to "disdain the metal or nu metal label," and consider the album more like a "heavy groove".
While these elements have been adapted by other bands, the album includes elements that are unique to Korn, including scatting vocals, and the use of bagpipes. In the first 13 seconds of the song "Helmet In the Bush" a presumably Latino or Spanish man can be heard talking in what seems to be a message left on a phone. This man is actually a very close friend of the band and was apparently supportive of Jonathan during his addiction.
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