Many of you Uber Rockers will instantly know who uttered what legendary metal quotes and when.  Quotes that pretty much sum up generations and/or iconic moments in our great Rock'n'Roll heritage, what about "Scream for me Long Beach" for example, or "This one goes up to 11".  But do you know who said " (we were) dubstep before there was dubstep" and apparently meant it?

We'll I'll put you out of your misery as It was Jonathan Davis frontman with Korn.

Yeah, that Korn, you know the ones that were fore bearers of nu-metal and have sold over 30 millions records to date playing pretty much that genre of music and not a lot else, leading the nu-breed that fashioned our metal music into a different direction. Heading up the movement alongside the likes of Slipknot, Limp Bizkit and Linkin Park.  So whilst Slipknot grabbed you by the jugular, and Limp Bizkit grabbed the street wise metal fun edge, Linkin Park were considered the fashionable outsiders that non metallers seem to enjoy, and Korn, well they were the awkward cousins that dared be a bit different. And so over the years as reputations have been built and developed new angles, I'd say that they are the now maybe the one band amongst them that isn't comfortable with the way the world looks back at them. A band that are so hell bent on being noticed again that they've taken such a sidestep in their music direction that you can't help but question their sanity?

Of course the dance/rap element that 'Path Of Totality' is built on isn't a new concept in itself but it was always a trial, a B-side experiment or a side project to the fist pumping adrenaline of metal. Marilyn Manson, Mordred, Orgy and even Gary Numan and Depeche Mode blur the boundaries between genres but what we have here folks is a full on album of dance that simply disowns the world we know - No guitar solo's, no choruses and simply no rock.

If you like The Prodigy or Pendulum and agree that they belong as headliners to the worlds biggest metal festivals, then read on because you'll probably love it, but if that dance/dub/electro angle makes you want to stab yourself in the eyes with a shard of Slayer vinyl, then simply don't bother because this album is a full on dubstep musical experience, and arguably as non metal an album as you could ever wish to purchase. You won't find any guest appearances by Nikki Sixx, Phil Anselmo, Robert Plant or any other known metal/rock gods here, nah instead try the likes of Skrillex, Excision and Downlink - Now see what I mean, this isn't a metal record - I hope I've made that clear enough for you?

So what do we actually get for our dub dollar? The first and best track 'Chaos Lives In Everything' will instantly put you in your place as to what this album is about, as it wouldn't sound out of place on the last Prodigy release, 'Invaders Must Die'. Davis is probably the only member of the band that was in the studio during its recording because you simply cannot identify an input from any other band member and I'd seriously have to ask what they were doing if they were there? 'Narcissistic Cannibal' is another good track that screams out as if to say "We're soooooo dub man, check out the beats" - and is a track that would be a little more old skool sounding Korn if only it wasn't for the break beats in the middle, which ruined it for me, but then I guess that's the point of this whole concept?

Korn have always experimented within the nu metal genre but when it comes down to it 'Path Of Totality' actually ends up sounding quite bland in comparison to others who truly are dance bands and in that respect, that's maybe the problem with this release. The fact that every single track has guest appearances from the dub community only adds to the questioning of what they are doing other than possibly isolating their hardcore fans? 'Sanctuary' is probably the most seemingly rock track on here and it sounds like a Marilyn Manson album filler. 'Way Too Far, Get Up!' and 'Bleeding Out' simply don't need to trouble you, and yes, we do know you can play the bagpipes Jonathan, that doesn't mean you have to play them again.

The trouble I have with this album is that Korn never really attack you with this release, and what is missing is that fist pumping energetic wave of euphoria that sucks you in and makes you realise that this dance stuff can be ok to like. It is certainly not a bad album if you're at all interested in this crossover genre but it's not the heart-stopping, non-stop wow, that they'd want you to feel either. There are some good tracks on 'Path Of Totality' but why bother with it when you have Pendulum in the first place? 

For pioneers of a genre, I'd imagine Korn will be getting some abuse due to the bandwagon jumping of this release, plus their apparent turning of their backs on their roots (although they'll tell you they haven't and to some degree, I'd have to agree with them).  'Path Of Totality' simply asks more questions than it gives answers about Korn and their whole musical mindset right now, but once the initial shock of it has disappeared, and as I've said previously it is still worth a listen or two if you are curious enough to wonder what Korn doing dubstep is all about. 

www.korn.com