Article: Jonathan Davis Talks to Radio Metal

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Source: Radio Metal

With guitarist Head’s return, it can be said that Korn was eagerly awaited by the crowd. But if there is one thing that Korn doesn’t listen to anymore – or at least pretends not to listen – it is what the audience expects. A few ranting people demand that the band forget about its dubstep experimentation and come back with a fundamentally metal album? Thus Korn offers them “Never Never”, one of the poppiest songs of its career. “I like going against what is expected, I like doing what you’re not supposed to do,” explains singer Jonathan Davis in the following interview.

But the main tasks undertaken by the band was on one hand seeing how Head’s return would work out and on the other hand going forward with their new album. The result is The Paradigm Shift, neither another version of The Path Of Totality, nor a renunciation to its roots. It is first and foremost an album full of contrasts where Korn puts to practice the know-how it acquired over the years more than ever before.

“With this band, we can’t do the same record over and over, we would go crazy!”
RadioMetal: Did you have some kind of certainty about Head’s come back in the band, about the chemistry and the musical success of his return? Was everybody in the band sure that the magic would happen again?

Jonathan Davis (singer): No, we didn’t know what’s going to happen. I had no clue. I just knew that we really missed him, and I think the band was excited to get him back. We didn’t know what it would make. We had no clue. We didn’t know if it would take off again, we didn’t know what was going to go on, so… coming back and doing the first little tour that we did together, here and in the United States, it was kind of a testing ground to see what’s going to happen. And it was awesome! It was like he had never been gone! So, yeah, we’re really happy that he’s back!

All the fans were hyped about Head’s return in the band and have put a lot of expectations on it. But from your point of view isn’t it a bit frustrating to see people kind of disregard what you have done in between?

No, I guess it’s normal. It’s exciting for those fans, that have been fans that long, to get his return. I mean, they’re the public… I mean, it’s exciting and it’s just what they originally, you know, discovered, it was us four. I think it’s natural for them to be excited but we did just fine when he wasn’t here… So, this is a bonus for them.

Last time we spoke, you said that the band was always trying new experiences with each album. What was the experience this time and how would you describe it?

We did this the other way around compared to The Path Of Totality where we started out with DJs. We wrote the songs with them first and then we had the guitars in, Munky came and did what he does and Fieldy came and did his things… This time, the music was written first and the electronics were added in a second time. It really worked, really good, and having Head back… he was always the guy that put over line melodies and guitar melodies over the top. Having him back really brought his style back into the music, because I missed how Munky and Head go back and forth on the guitar. Now that that was back, it made it that much better.

In a way we can say that The Paradigm Shift has the melodies of Untouchables, the aggressiveness of Take A Look In The Mirror, some electronic elements reminiscent of The Path Of Totality… Would you agree if we say that this album is a combination of all the different elements of Korn’s career?

I do think that, yeah. That just happened naturally. You know, we experimented and experimented, and we did all these certain kinds of records and once Head came back, all those things melted themselves together. It all came together in one kind of record.

Was it intentional?

Hum… Yeah. It was intentional to keep the electronics but it wasn’t going to be like the dubstep record, it wasn’t going to be like The Path Of Totality, but we were still going to use elements of that. And that’s all I could say from the start. We had no idea what it was going to turn out like, until we got actually in it and started doing it.

“We’re finally at that point where we’re not scared to do whatever the fuck we want. We’re not necessarily writing the record for any particular fans, but just to challenge ourselves.”
The Path Of Totality was a controversial album, yet The Paradigm Shift still features some dubstep elements and rhythms. Was it a way to make profit of this experience and to make a statement saying that you still, today, stand behind what you did with The Path Of Totality, when some people might have expected you to sideline it?

Yeah. When we did The Path Of Totality, we had too much fun, it was an amazing record. It was so different. We took a chance of doing it, and it really turned out in something that was great and a lot of people loved it. So, we’re not keeping doing that, but we’re doing it in a different way. With this band, we can’t do the same record over and over, we would go crazy! It’s always about experimenting and doing different stuff. It’s fun to push the envelope, try to do things differently and not worry about what the fans and other people are going to think. Because if you start doing that, you start making every record sound the same, like AC/DC or stuff like that, those bands that make the same… That works for them and I think their albums are amazing, but that’s what they do, they do that same thing over and over again. For us, it’s more of a challenge and it’s a lot more fun to write like that, and do different things. You don’t want to get boring, get stagnating and do something that’s dated… You always have to change. In this band, it’s all we like doing.

You actually chose the song “Never Never” as the first single which is the most pop oriented song on the album and features dubsteps elements. Could this choice be seen as a way for you to play with your audience?

Oh, I always do that, to fuck with them! Fuck yeah, I did that for sure on purpose! Because I knew all the metalheads would be pissed off! The strict metal dudes are always like that. Everybody else is loving it. I think it’s about 80/20… But I like doing that, I like going against what’s expected, I like doing what you’re not supposed to do. Everybody expected some banger to come out, because Head was back, and we did the opposite. With this band we do what’s not expected. It’s working and it’s great, people love it. I mean, that’s a good song. You can be pissed off and say it sucks, but I know in the back of their head, they’re singing it, because it’s so catchy! (laughs)

Don Gilmore, as a producer on this record, seems to have made the link between some recent electronic stuff, like what we could find on The Path Of Totality, and a more traditional approach of Korn’s sound. How would you measure his contribution to this record?

I can’t really tell. He really was fun to work with. He did things and brought things out in the coolest way. There wasn’t really any negative or arrogant thing, no ego, no “you’re gonna do this, you’re gonna do that”. He did it a really nice way. This guy is a genius and I love to work with him. He’s really, really good at what he does.

The Paradigm Shift has some of the most positive moments in Korn’s careers as well as some of its darkest ones. The musical spectrum of this album is quite wide. Does this symbolize the band’s sense of musical freedom?

I think it does. We’re finally at that point where we’re not scared to do whatever the fuck we want. We’re not necessarily writing the record for any particular fans, but just to challenge ourselves and it’s all about taking chances. Sometimes it works, sometimes it doesn’t. But you know, every time we make a record, it’s amazing and it’s fun. Plus, as artists, doing something different and creative… We’ve done eleven records, it’s pretty tough to be different with each one! But somehow we pulled that off. It’s amazing just to be eleven albums deep, still passionate and more into writing different stuff…

“It’s amazing just to be eleven albums deep, still passionate and more into writing different stuff.”
The album sometimes gives the feeling that you wanted to play with your voice, whether it’s with the contrast between the melodic and aggressive parts that goes almost in the death metal realm or with some experiments like what you do in “Lullaby For A Sadist” or “Spike In My Veins”. Did you want to test your voice and experiment a bit with it?

No, I’m just singing from the heart! It really wasn’t anything conscious. At the time, I was in detox, I was on anti-anxiety drugs and stuff to kick the heroin out. And my youngest son also got diagnosed with diabetes, so that totally changed my life. I wasn’t there… It’s pretty much this album on itself, lyrically and my voice, singing wise… I was removed, I wasn’t there. Seriously, it was really hard. I moved myself into the studio, I brought my two younger sons in to help me out. They were my muses, they were the ones that kept me going, that kept me positive, when I was falling down that hole, that rabbit hole, because I didn’t feel good, I was shaking because of the detox, I had nightmares all the time, I had a lot of crazy shit going, plus I was dealing with Zeppelin giving him insulin shots, checking his fingers… There was a lot of shit going on so… I checked out for a while. Really. It was a very intense moment and I guess that helped me to strip some shit subconsciously, but I didn’t sit out. I was just there, doing what I do and not thinking about it, and half the songs I didn’t even know what the fuck they were about… (laughs) It was really crazy, it was a crazy experience, but positive and fun. I had a good time.

Recently, Fieldy said you’ve made around 20-25 songs for this album and only put the best on the record. Finally there are only 11 on it with two bonus tracks…

Yeah, we recorded a total of fifteen and then the other ten, we just left them out, because I didn’t have the time to sing them all. So I just picked the fifteen that I thought were the best and singles.

What will you do with the rest of the songs?

They’re going in a vault. I’m sure when I get bored and I get home, I’ll get some time off, so I’ll start working on them. They’ll see the light of day someway.

There’s a song on the album called “Mass Hysteria”…

Yeah, I know you guys like that, I know it’s a French band! (laughs) They worked with one of my engineers, Tim Harkins, on one of their records. They came and recorded in my studio. That song was totally a joke for me, because I had Head constantly going (imitating Head) “What the hell, I’m a metalhead, I wanna do metal music, I wanna have guitars, guitars!” And there was me: “I wanna do more electronics and do something that’s different, more modern!” So that song came up and I was like: “I’m gonna write the most metal lyrics I can think of in my life!”, and that’s how that song came out. It was a joke at the beginning but it turned out great! I was like, “Fuck, it backfired!”

So there’s absolutely no relation with the French band…

No! When I did it, I thought: “Yeah, there’s a band in France called Mass Hysteria. They’ll like that.” But it was more about the state of the world right now, all this crazy shit’s going on, economically, all these revolutions going on in the Middle East… It’s like the world right now is in a mass hysteria kind of thing going on.

“I do think a lot of music now is stagnating.”
Korn was the first band to mix dubstep and rock or metal. Since then, many bands have followed in its footsteps by including dubstep into one of their songs or more. Like Muse for example. Did that make you feel like being a leader again?

Oh yeah! That’s awesome! I mean, you can’t not feel good about that. When I was saying I wanted to do it, I wanted to do it right, that’s why I wanted to get all those guys that are big DJs, they knew what they were doing. Some of the new stuff is cool, but I can tell that they did that shit by themselves! I mean, I wouldn’t know first-hand but now I can do it myself, but I wouldn’t. I had to go working with those guys to learn and I still got a lot more to learn, making and producing that style of music.

These past years you have done some shows as a DJ, do you intend to go further with this or with electronics in general?

Yeah! I mean the JDevil stuff… I love it. And I have another band, Killbot, we’re working on another EP that we’re going to set soon. It’s funny, the Killbot EP did better than Korn III! It sold more than Korn III, that tells you everything. (laughs) So I’m really excited about it, I love it, I’m passionate about that music and this could be fun.

In 2012, you made two visits to a US armed forces camp in Ramstein, Germany. With the perspective of a few months’ time, how would you analyze what you saw and did there? Why did you choose to make such a visit?

I wanted to do that just to say “thank you” to those guys. I mean… This whole war thing is wrong, but those guys are doing what they’re told, you know? And they’re fighting for our freedom. There are places in the world where you have no free speech, you’re not allowed to go on the internet, there are tons of places like that in the world. And when that comes under fire, it’s time when you do have to go to war. That’s necessary. And I just wanted to go thank those guys for putting their lives on the line and giving up their legs and limbs, all the stuff that I’ve seen, so that we do have those freedoms. Those guys are doing what they’re told, and so I just needed to go there and tell them that I appreciated, “thank you” for me and the band, my kids and everything… Because what they’re doing is really, really special. And I grew up with both my grandfathers who were at World War two. Many times, my grandfathers threw me on the ground, thinking there was incoming fire and all that stuff. I understand what those guys are going through. So it was something for me that was necessary for balance, I wanted to personally go there and thank them.

I recently talked with Abe Cuningham from the Deftones, a band you shared the road with at times, about the golden age of rock and metal in the 90’s. He said he misses that period, for him it was a great period with great bands and creativity. This is also when you reached the top of your popularity. How do you now see those times?

I think it was good times. The music industry was healthy, things were going good… And then it all changed, everything was different. And I do think a lot of music now is stagnating. I’ve always been into electronic music, but that’s what draws me more into it and Dubstep, the bass driven music that is going on now and all the electronic stuff. To me that’s what rock was in the 90′s, it’s exciting, it’s new, it’s different. And that’s what drives me towards it. I really do love it.

“If I didn’t have kids, I would have been dead. [...] Having a responsibility and then having three little dudes depending on you to live, It really changes the way you look at life.”
With Head retuning to the band, wasn’t it tempting to call David Silveria back too?

Not one bit. (taking a half-serious, half-mocking face)

Are you still in contact with him?

No. That guy’s got problems. (laughs) No, we’re really happy with Ray, he’s our drummer now. He loves playing drums, he’s very opened to… When we write, he tries everything. Everything we never got to do with David, he does it, and so it’s fun. It makes a good, very positive, atmosphere.

You have three kids, with one who is almost 18 now. How do they live your celebrity and kind of “special status” regarding other parents?

Nathan, he liked it and now he’s a DJ, he’s been playing gigs, he’s producing music, he has his band, Brickhouse, which is doing good. Then there’s my other minions, Pirate and Zeppelin, and they love it! They’re telling (he takes a very proud and smiling look): “Hey Dad, you’re a rock star!” They love it, they’re so funny. If I’m going through a drive-thru or something, they just go “Hey, that’s Jonathan Davis from Korn!” and they say shit like that and then everybody in the restaurant or the place come to me asking “Can I have your autograph?” Hey, don’t put me on blast all the time! They’re little pranksters. So, I mean… they really do like it. My two little ones dig it. Nathan was really withdrawn and shy when he was young and it really bothered him when people wanted to take pictures of me and stuff like that. These two, they love it. They blow my cover all the time, any chance they can get, because they think it’s cool! (laughs)

Did becoming a father help you in fighting the evils of your own childhood?

Oh, definitely. If I didn’t have kids, I would have been dead. I mean, having a responsibility and then having three little dudes depending on you to live, It really changes the way you look at life. I love my music, and that’s why I do that, but I do it also so they can have a good life. It kills me to leave them, I miss them dearly, but you know… Here I’m working so that they can go to a good college and do the things that they need to do. I love being a father. I love that, it’s equal as… With my music these are the two most important things in my life. Everything else is second.

Article: Jonathan Davis Talks to VS Webzine (France)

Photo by Sebastien Paquet

Thanks Garnier Olivier!

Google Translate:

Source: VS Webzine

Eleven albums, almost twenty years on the stage, KORN has become a colossus of Metal. More than the inventors of neo -metal, Korn is now a group that lasts, that has nothing to prove and does what he wants. Jonathan Davis ‘s frontman / singer was visiting Paris for the promotion of “The Paradigm Shift” . Follow The Leader .

Hi Jonathan , how are you? This is not all that tedious promo?
If so this is very annoying but I love being here , of all places I ‘ve visited , this is my favorite hotel. I also love being in Paris , I love this city.

After all these years , controversy and lots of crap you finally played Hellfest …
It’s fun to play there. I know a lot of people in France are up in arms against us, some still are , because we canceled our concert in 2007 but it was really for security reasons . I will not return it or argue but it was really dangerous to play . But finally we came back, we played there and it was a nice concert. It’s weird for us, especially for me to play in a real Metal Hellfest festival like because I think it is not our place, I ‘ve never seen us as a metal band . There there’s all these groups from all these genres, all very good in their style … then we come up with our music, it’s always weird to see metalheads dancing with their girlfriends on our pieces . But it was cool to give this concert and see all these people dancing and smiling .

You get out a new album , the eleventh already that can we expect from this album?
It really is a great album, the best that we have done. It y have for everyone on this album , even more electro and dance tracks more metal , some more rock , more. I really like it because each piece is excellent. Sometimes you write songs and it’s just another piece , but not here , we all really shake our ass on each title .

The first impression one has to listen to the disc is that it is very melodic with very catchy chorus. In a certain sense it is similar to albums like “Issues ” or ” Untouchables .”
Yes it is true but it is something that came out like that, when we started playing together and recording. After ” The Path … ” we wanted to have something different . The guy wrote a ton of songs and we chose our favorite , I brought my electronic key and that’s it . It was pretty funny because some in the group wanted more things metal, for my part I wanted to highlight the electro side. There, we found a good compromise , There are many traditional instruments of electro sounds . The combination of the two works perfectly.

It is you who created all the sounds and all the electronic parts on this record?
I made some , others were not made ​​two friends DJ Slugo and Alien . It was nice to add all these hacks to the songs composed by guys.

You have selected ” Never Never ” as the first single. This is a very melodic song, very dancing , a summer song almost electro -pop . Why this choice of title?
And well for me it’s just to piss off people and get them talking (laughs). I tell it honestly . I love even the true metalheads screaming and write on the internet “This is the gay shit .” I think it’s great , it means that the title works . I love doing this stuff . The slightly more open to people like it is that song. Many girls love this song, they dance above . And as soon as you girls dancing you guys coming (laughs). This title works perfectly for that. It’s great to write songs for girls, I want to do that , I write songs for guys for almost twenty years , it is time to change (laughs). You see people starting to hear it and say ” fuck what is this thing? Korn ? Bullshit ” then gradually over the sheets, the chorus will remain in your head, you put yourself in the hum and boom, it works . Initially bother you and then after you put yourself to love . Many fans say or write us ” you can not do that. Metal Metal Metal! ” No, this is the kind of song that makes things happen . I think it’s a good song, but it takes several days to understand . It makes people angry , but I prefer to make girls happy . I love this stuff, like Rick James , the funk stuff. Rick James is the biggest rockstar . Dance and girls. It’s my new thing , make the girls dance . I wrote songs for the guys too long, this time it is for girls. Because it is the girls who decide if they like and begin to move , guys will start to love and move in the hope of being able to type them (laughs). That’s rock’n'roll.

So , what is the meaning of the title of this album ” The Paradigm Shift “?
It represents a change in state of consciousness. The cover shows that too, we see two faces or a cup, it depends on what you watch , you, your state of mind when you’re watching . There’s several reading levels. Musically it is the same, this album may seem to you to be a rock album or an electro album according to your mood , what you usually listen and how you listen to the songs. In Europe, the fans see more rock side , the United States is the electro side spring . I really like this difference in perception , I try to understand why this is so. So when Munky is Arivé with this title I immediately thought it was perfect for what we did on this record.

Who did the artwork for that matter? This is a drawing , a photo, a composition ?
This is my buddy who did Roboto . He made the cover of our last album, he created the logo and all artworks Skrillex . I met a Skrillex concert and I loved his work. I wanted to do something different from what is done in the middle of the metal where everything always ends up like. And it was the things I had never seen in the metal . It’s a different artwork what we did in the past. This is a very rich artwork in great detail , you can observe and discover a lot of things. You pleated eyes to see beyond that stuff .

How was the composition of the album? A simple call he was ?
The guys started working on it in August last year. Me until March , I was in rehab for all the pills I take for my anxiety , my stress and stuff, it’ll mess up more than heroin that stuff . I went to the hospital and I ‘m better than last month. I went into the studio in March . I came trembling but the guys were happy to see me and I was happy to see how well they had to work. It has built a kind of small apartment upstairs , just above the studio like that, as soon as I felt bad that my tremors resumed , I could get some rest , lie down and resume work later . I moved in with my son there, we listened to everything the guy had made ​​, I chose my favorite , it was all the work with Don ( Gilmore ) and voila, everything started to come together and function . Making this record was one of the most enjoyable moments of my life . Just before that, I was in rehab , my youngest son was diagnosed with diabetes , while it really fucked me morally . But this was good to have my children with me in the studio, I was really boosted . I never realized album as positively in the past. I did my voice, I asked my son if it was good and replied that it was zero. Children never lie , lie is an adult thing . It was really cool. For writing lyrics that’s almost done all alone, everything came out spontaneously , almost unconsciously . I had one foot in reality and one foot addition , which corresponded to the disc , I do not really know what to talk about the pieces , it all has to come from my subconscious , I do not know. Everyone interprets them as he wishes . ” Never Never ” is about a relationship that does not work and when it does not work , it’s not worth the stress . I always write about things about me or my entourage, that sort of thing . ” Punishment Time ” is about me and my sadistic impulses to the people I love , especially my wife to see her cry , for example , it excites me a lot and I do not know why … Writing lyrics and music c is a way for me to release the pressure , to exorcise a lot of things that plague me . Usually it is a complicated process , difficult, almost painful for me , but this time I wrote with my children playing next to me and it was much easier. Don ( Gilmore ) helped me a lot too. I actually met someone who understands , who is on the same level musically on the same wavelength. It’s hard to find a producer with whom we fully understand, there is the case . It is very funny , it looks like a white Tiger Woods , he has his hat , plays golf. He has no children then mine always played with him, he eventually learned their golf, how the guitar and sing , that kind of thing . Some days I had bosser alone and asked me where were the children (laughs).

Precisely speaking of Don Gilmore, why did you choose him to record this album and what did he bring to the sound of ” The Paradigm Shift “?
In fact I have nothing to do , the group met with several producers and they chose Don , I as I said , at that time I was ” away “. Don had worked with us on a piece of ” Take A Look In The Mirror .” At first I did not like him , he pulls this yuppie etc. … I thought about her appearance and I hated it . Then when I hung out with him , I loved it . He brought a lot to the group at the technical level , it was like a mad scientist , there was much discussion and ultimately our collaboration went very well , we can say that we have produced the album both.

Don Gilmore is not really a producer of metal …
And we are not a metal band , it fell well . The metal is one of our influences. I ‘ve never been a metalhead , I always listened to new wave , electro and 80s that kind of stuff . I also love very extreme stuff , I’m a big fan of Cannibal Corpse for example. I love their albums and for me , that ‘s metal , not Korn . I never understood why we were cataloged metal . I like the term “fusion” for me is that we are a band that mixes a lot of influences, a fusion band . In France , I came in 1995 and I found our first album within “Fusion” and I found this really cool term . Nobody has ever really succeeded in our catalog … New Meal and all these labels pffffffff … it does not mean anything . This is weird.

This album marks the return of Head in the group, how the reunion happened ?
We invited him to a concert with us. He was there with her ​​daughters who wanted to see a group showing , he was asked to come and play a song with us on stage . He played ” Blind” with us and the fans went crazy . It was a hard time for everyone , for me, for the group , for him, for the fans. We immediately understood that it was time to return. He also participated in the composition of the album, it was there all along .

How the group is different with Head?
It boosts the morale of the group , it was really cool to revisit our old friend , to have him with us every day. Head has always been the joker of the group. It is very funny, he always makes us laugh. This really is the return of a friend, a brother. It’s almost as if your best friend dies and returns to life ten years later. ” Woah dude are you here? Damn that’s cool. ” It’s just … Woah ! He’s gone, left the band but for the fans and for us as it has always been somewhere in a different way .

It’s been 20 years since the group was created. What a journey ! What do you look at these 20 years?
We could never have imagined it . Never. This is just crazy . We knew we had something different but we do not not know , it is believed that it would appeal to many people and that everything was going to explode like that. Nobody could have guessed. Two albums, ” Follow The Leader ” and things got really crazy ? Boom … amazing.

What group is it different today?
It has aged , it is wiser , smarter , more mature too. We drink a lot less, there is less party. It is positive , there is less drama in the group, everyone has a family, children. This is much better. We all drink a lot less. Munky , Fieldy and Head not drink , then occasionally but nothing more , over cooked, stupid stuff like that. It makes me happy to see them like that.

In twenty years the group has hardly changed, you still have the same core, are still the same , how do you keep that desire to play together ?
We all know from childhood , we’re friends , brothers . We grew up together . I met Head classroom Munky later . Person in the group pisses others. Fieldy except when he was drunk , but now it’s over , he came out of it. What more … We’re family .

About that , you are always in contact with David ( Silveria ) ?
Arf … No … ” Fuck him .”

OK , we will not say more …
No, it’s not worth it. The interview was cool, we will not quit on it (laughs) !

In this case , go ahead say what you want to finish.
Thank France, they were behind us from the beginning. I still have lots of French fanzines at the time of our inception. This is one of our French friends photographer Sebastian who has collected , he is with us from the beginning. France has always been special , it is the first country in which it was successful . It is the country that I prefer in the world, the most beautiful. I really want to learn to speak French . So, thank you to France , the French fans and the press still talk about today.


Original French article

Onze albums, pratiquement vingt ans de présence sur la scène, KORN est devenu un colosse du Metal. Plus que les inventeurs du néo-metal, Korn est aujourd’hui un groupe qui dure, qui n’a plus rien à prouver et qui fait ce qu’il veut. Jonathan Davis son frontman/chanteur était de passage à Paris pour la promo de “The Paradigm Shift”. Follow The Leader.

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Salut Jonathan, comment ça va ? Ce n’est pas fastidieux toute cette promo ?
Si si c’est très ennuyeux mais j’adore être dans cet hôtel, de tous les hôtels que j’ai fréquentés, c’est mon hôtel préféré. J’adore être à Paris aussi, j’adore cette ville.

Après toutes ces années, une polémique et beaucoup de blabla vous avez enfin joué au Hellfest…
C’est fun de jouer là-bas. Je sais que pas mal de monde en France sont remontés contre nous, certains le sont toujours, parce que nous avions annulé notre concert en 2007 mais c’était vraiment pour raisons de sécurité. Je ne vais pas revenir là-dessus ou polémiquer mais c’était vraiment dangereux de jouer. Mais finalement nous sommes revenus, avons joué là-bas et c’était un chouette concert. C’est bizarre pour nous, surtout pour moi de jouer dans un vrai festival Metal comme le Hellfest parce que je pense que ce n’est pas notre place, je ne nous ai jamais vu comme un groupe de metal. Là-bas y’a tout ces groupes issus de tous ces genres, tous très bons dans leur style… puis nous on arrive avec notre musique, c’est toujours bizarre de voir des metalleux danser avec leur copine sur nos morceaux. Mais c’était cool de donner ce concert et de voir tous ces gens danser et sourire.

Vous sortez un nouvel album, le onzième déjà, que pouvons-nous attendre de cet album ?
C’est vraiment un album formidable, le meilleur que l’on ait fait. Il y’en aura pour tout le monde sur cet album, des titres plus metal, d’autres plus rock, d’autres encore plus éléctro et dansants. Je l’aime vraiment parce que chaque morceau est excellent. Parfois tu écris des morceaux et c’est juste un autre morceau, mais pas ici, on a tous vraiment bougé notre cul sur chaque titre.

La première impression que l’on a à l’écoute du disque est qu’il est très mélodique avec des refrains très catchy. Dans un certains sens il se rapproche d’albums comme « Issues » ou « Untouchables ».
Oui c’est vrai mais c’est quelque chose qui est sorti comme ça, lorsqu’on s’est mis à jouer ensemble et à enregistrer. Après « The Path… » nous avions envie de faire encore quelque chose de diffèrent. Les gars ont écrit une tonne de chansons puis nous avons choisi nos préférées, j’ai apporté ma touche électronique et puis voilà. C’était assez marrant parce que certains dans le groupe voulaient des choses plus metal, moi de mon côté je voulais accentuer le côté électro. Là, nous avons trouvé le bon compromis, il y’a autant d’instruments traditionnels que de sonorités électro. Le mix des deux fonctionne parfaitement.

C’est toi qui a créé tous les sons et toutes les parties électroniques sur ce disque ?
J’en ai fait certaines, d’autres ont été faites pas deux amis DJ, Slugo et Alien. C’était sympa à faire, ajouter tous ces bidouillages aux chansons composées par les gars.

Vous avez choisi « Never Never » comme premier single. C’est un morceau très mélodique, très dansant, un morceau presque electro-pop, estival. Pourquoi ce choix de titre ?
Et ben pour moi c’est seulement pour faire chier les gens et les faire parler (rires). J’te dis ça très honnêtement. J’adore voire les true metalleux crier et écrire sur internet « C’est de la merde gay ». Je trouve ça génial, ça veut dire que le titre fonctionne. J’adore faire ce genre de choses. Les gens un peu plus ouverts aiment ce morceau pour ce qu’il est. Beaucoup de filles aiment cette chanson, elles dansent dessus. Et dès que tu as des filles qui dansent tu as des mecs qui arrivent (rires). Ce titre marche parfaitement pour ça. C’est génial d’écrire des chansons pour filles, j’ai envie de faire ça, j’ai écris des chansons pour mecs depuis presque vingt ans, il est temps de changer (rires). Tu vois au départ les gens l’entendent et se disent “putain c’est quoi ce truc ? Korn ? Conneries” puis petit à petit au fil des écoutes, le refrain te reste en tête, tu te mets à le chantonner et boom, ça fonctionne. Au départ ça t’énerve et puis après tu te mets à l’aimer. Beaucoup de fans nous disent ou écrivent « vous ne pouvez pas faire ça. Metal Metal Metal ! » Mais non, c’est ce genre de morceau qui fait avancer les choses. Je pense que c’est un bon morceau mais qu’il faut plusieurs jours pour le comprendre. Ca rend les gens furieux, mais moi je préfère rendre les filles heureuses. J’adore ce genre de choses, comme Rick James, les trucs funk. Rick James c’est la plus grande rockstar. De la danse et des filles. C’est mon nouveau truc, faire danser les filles. J’ai écrit des chansons pour les mecs trop longtemps, cette fois, c’est pour les filles. Parce que ce sont les filles qui décident, si elles aiment et se mettent à bouger, les mecs vont se mettre à aimer et à bouger dans l’espoir de pouvoir se les taper (rires). C’est ça le rock’n'roll.

Et donc, quelle est la signification du titre de cet album « The Paradigm Shift » ?
Ca représente un changement d’état de la conscience. La pochette montre ça aussi, on y voit deux visage ou une coupe, ça dépend de ce que tu regardes, de toi, de ton état de conscience quand tu vas la regarder. Il y’a plusieurs niveaux de lecture. Musicalement c’est pareil, cet album peut te sembler être un album rock ou un album électro selon ton humeur, ce que tu écoutes habituellement et la façon dont tu écoutes les morceaux. En Europe les fans perçoivent plus le côté rock, aux Etats-Unis c’est le côté electro qui ressort. J’aime vraiment cette différence de perception, j’essaie de comprendre pourquoi c’est comme ça. Donc quand Munky est arivé avec ce titre j’ai tout de suite trouvé que ça correspondait parfaitement à ce que nous avons fait sur ce disque.

Qui a réalisé l’artwork d’ailleurs ? C’est un dessin, une photo, une composition ?
C’est mon pote Roboto qui l’a fait. Il avait fait la pochette de notre dernier album, il a créé le logo et tous les artworks de Skrillex. Je l’ai rencontré à un concert de Skrillex et j’ai adoré son travail. Je voulais faire un truc différent de ce qui se fait dans le milieu du metal où tout finit toujours par se ressembler. Et lui faisait des choses que je n’avais jamais vu dans le metal. C’est un artwork différent de ce qu’on a fait par le passé. C’est un artwork très riche avec beaucoup de détails, tu peux l’observer et découvrir un tas de choses. Tu plisses les yeux pour voir plus loin ce genre de trucs.

Comment s’est passé la composition de l’album ? A-t-il été simple à composer ?
Les gars ont commencé à travailler dessus en août de l’année dernière. Moi, jusqu’en mars, j’étais en cure de désintoxication pour tous les cachets que je prends pour mon anxiété, mon stress et tout ça, ça te bousille plus que l’héroïne ces trucs-là. Je suis allé à l’hôpital et je ne vais mieux que depuis un mois. Je ne suis entré en studio qu’en mars. Je suis arrivé tout tremblant mais les gars étaient contents de me voir et j’étais heureux de voir à quel point ils avaient bien bosser. On a aménagé une espèce de petit appartement à l’étage, juste au-dessus du studio comme ça, dès que je me sentais mal, que mes tremblements reprenaient, je pouvais aller me reposer, m’allonger et reprendre le travail par la suite. J’ai emménagé avec mes fils là-bas, on a écouté tout ce que les gars avaient composé, j’ai choisi mes préférées, on a fait tout le boulot avec Don (Gilmore) et voilà, tout a commencé à se mettre ensemble et à fonctionner. Faire ce disque a été l’un des moments les plus agréables de ma vie. Juste avant ça, j’étais en cure de désintox, mon plus jeune fils a été diagnostiqué diabétique, tout ça m’a vraiment niqué moralement. Mais là c’était bon d’avoir mes enfants avec moi en studio, ça m’a vraiment boosté. Je n’avais jamais réalisé d’albums aussi positivement par le passé. Je faisais mes voix, je demandais à mon fils si c’était bon et lui répondait que c’était nul. Les enfants ne mentent jamais, mentir c’est un truc d’adultes. C’était vraiment cool. Pour l’écriture des paroles ça c’est pratiquement fait tout seul, tout sortait spontanément, presque inconsciemment. J’avais un pied dans la réalité et un pied ailleurs, ce qui correspondait bien au disque ; je ne sais pas vraiment de quoi parle les morceaux, tout ça doit provenir de mon subconscient, je ne sais pas. Chacun les interprétera comme il le voudra. « Never Never » parle d’une relation qui ne fonctionne pas et quand ça ne marche pas, ce n’est pas la peine d’insister. J’écris toujours sur des choses sur moi ou mon entourage, ce genre de chose. « Punishment Time » parle de moi et de mes pulsions sadiques envers les gens que j’aime, spécialement ma femme, la voir pleurer par exemple, ça m’excite beaucoup et je ne sais pas pourquoi… Ecrire des paroles et de la musique c’est une façon pour moi de relâcher la pression, d’exorciser tout un tas de choses qui me rongent. D’habitude c’est un processus compliqué, difficile, presque douloureux pour moi, mais cette fois j’écrivais avec mes enfants qui jouaient à côté de moi et c’était beaucoup plus facile. Don (Gilmore) m’a beaucoup aidé aussi. J’ai vraiment rencontré quelqu’un qui comprend, avec qui on est au même niveau musicalement, sur la même longueur d’onde. C’est difficile de trouver un producteur avec qui on se comprend totalement, là c’est le cas. Il est très marrant, on dirait un Tiger Woods blanc, il a sa casquette, joue au golf. Il n’a pas d’enfants alors les miens jouaient toujours avec lui, il a fini par leur apprendre le golf, comment faire de la guitare et chanter, ce genre de chose. Certains jours je venais bosser seul et il me demandait où étaient les enfants (rires).

Justement, en parlant de Don Gilmore, pourquoi l’avoir choisi lui pour enregistrer cet album et qu’a-t-il apporté au son de « The Paradigm Shift » ?
En fait je n’y suis pour rien, le groupe a rencontré plusieurs producteurs et ils ont choisi Don, moi comme je le disais, à cette époque j’étais « loin ». Don avait déjà travaillé avec nous sur un morceau de « Take A Look In The Mirror ». Au début je ne l’aimais pas, il avait cette dégaine de yuppie etc… je l’ai jugé sur son apparence et je l’ai détesté. Puis quand j’ai traîné avec lui, je l’ai adoré. Il a beaucoup apporté au groupe au niveau technique, il était comme un savant fou, on a beaucoup discuté et au final notre collaboration s’est très bien passée, on peut dire que nous avons produit l’album tous les deux.

Don Gilmore n’est pas vraiment un producteur de metal…
Et nous ne sommes pas un groupe de metal, ça tombait bien. Le metal n’est qu’une de nos influences. Moi je n’ai jamais été un metalleux, j’ai toujours écouté de la new wave, de l’électro des années 80 et ce genre de trucs. J’adore aussi des trucs très extrême, je suis un grand fan de Cannibal Corpse par exemple. J’adore leurs albums et pour moi, ça c’est du metal, pas Korn. Je n’ai jamais compris pourquoi on nous a catalogués metal. J’aime le terme « fusion » pour moi c’est que nous sommes, un groupe qui mélange un tas d’influences, un groupe de fusion. En France, je suis venu en 1995 et j’ai trouvé notre premier album dans un rayon « Fusion » et j’ai trouvé ce terme vraiment cool. Personne n’a jamais vraiment réussi à nous cataloguer… Néo-Meal et toutes ces étiquettes, pffffffff…ça ne veux rien dire. C’est bizarre.

Cet album marque le retour de Head dans le groupe, comment les retrouvailles se sont passées ?
Nous l’avons invité à faire un concert avec nous. Il était là avec ses filles qui voulaient voir un groupe à l’affiche, on lui a demandé de venir jouer un morceau avec nous sur scène. Il a joué « Blind » avec nous et les fans sont devenus dingues. Ca été un moment très fort pour tout le monde, pour moi, pour le groupe, pour lui, pour les fans. On a tout de suite compris qu’il était temps qu’il revienne. Il a d’ailleurs participé à la composition de l’album, il a été là tout du long.

En quoi le groupe est différent avec Head ?
Il booste le moral du groupe, c’était vraiment cool de revoir notre vieux pote, de l’avoir avec nous tous les jour. Head a toujours été le blagueur du groupe. Il est très drôle, il nous fait toujours marrer. C’est vraiment le retour d’un ami, d’un frère. C’est un peu comme si ton meilleur ami meurt et revient à la vie dix ans plus tard. « Woah mec t’es là ? Putain c’est cool. » C’est juste…Woah ! Il est parti, a quitté le groupe mais pour les fans et pour nous aussi il en a toujours fait partie quelque part, de façon différente.

Ca fait 20 ans que le groupe s’est créé. Quel parcours! Quel regard portes-tu sur ces 20 ans ?
On n’aurait jamais pu imaginer ça. Jamais. C’est simplement fou. On savait qu’on avait quelque chose de différent mais on ne savait pas, on ne croyait pas que ça plairait à autant de gens et que tout allait exploser comme ça. Personne n’aurait pu le deviner. Deux albums, « Follow The Leader » et les choses sont devenues vraiment folles ? Boom… incroyable.

En quoi le groupe est-il différent aujourd’hui ?
On a vieilli, on est plus avisés, plus intelligents, plus matures aussi. On boit beaucoup moins, on fait moins la fête. On est plus positifs, il y a moins de drames dans le groupe, tout le monde a une famille, des enfants. C’est bien mieux. On boit tous beaucoup moins. Munky, Head et Fieldy ne boivent plus, enfin occasionnellement mais rien de plus, plus de cuites, de trucs stupides comme ça. Ca me fait plaisir de les voir comme ça.

En vingt ans le groupe n’a pratiquement pas changé, vous avez toujours le même noyau, êtes toujours les mêmes, comment faites-vous pour conserver cette envie de jouer ensemble ?
On se connaît tous depuis l’enfance, on est des potes, des frères. On a grandi ensemble. J’ai rencontré Head en classe, Munky un peu plus tard. Personne dans le groupe ne fait chier les autres. Sauf Fieldy quand il était bourré mais maintenant c’est fini, il s’est sorti de tout ça. Que dire de plus… On est une famille.

A propos de ça, vous êtes toujours en contact avec David (Silveria)?
Arf…Non… « Fuck him ».

OK, on ne va pas en dire plus…
Non, ça n’en vaut pas la peine. L’interview était cool, on ne va pas se quitter sur ça (rires)!

Dans ce cas, vas-y dis ce que tu veux pour terminer.
Je remercie la France, ils ont été derrière nous depuis le début. J’ai encore plein de fanzines français de l’époque de nos débuts. C’est un de nos amis photographe français, Sébastien, qui les a collectés, il est avec nous depuis le début. La France a toujours été spéciale, c’est le premier pays dans lequel on a eu du succès. C’est le pays que je préfère dans le monde, le plus beau. J’aimerais vraiment apprendre à parler français. Voilà, merci à la France, aux fans et à la presse française d’encore parler de nous aujourd’hui.

Video: Sneak Peek #5 at the Korn “Reconciliation” DVD

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Video: Jonathan Davis on Consequence of Sound

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Article: Jonathan Davis In Spin Magazine

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Read the original article on Spin

When vocalist Jonathan Davis opened up Korn’s 1994 debut single, “Blind,” by growling, “Arrre youu ready?!” it wasn’t so much a question as it was fair warning, a salvo for a nü era. For the past 20 years, the boys from Bakersfield, California, have managed to stay at the vanguard of metal expression. In addition to (for better or worse) spawning the nü-metal subgenre, they were among the first bands to incorporate hip-hop beats with guitar heaviness, and with their 2011 album The Path of Totality, they even incorporated dubstep. Love ‘em or hate ‘em, they’re American originals.

Korn’s latest album, The Paradigm Shift, finds the group again experimenting with electronic music on the single “Never Never” and indulging their heavy side elsewhere, thanks to help from original guitarist Brian “Head” Welch, who has returned after eight years away. And although Davis sounds effortlessly aggressive, he wrote his parts after suffering through nasty withdrawal symptoms from prescribed medicine. It’s an experience that led to some reflection; just before the band embarked on a lengthy tour, we caught up with Davis to find out what he learned from that ordeal and what advice he can offer after 20 years of Korn.

Always look out for yourself.
When I first came from Bakersfield to Los Angeles, I was so naïve. Moving there was really eye-opening, because it seemed like a city of people with agendas. I just trusted everybody, and I got screwed over a lot of times. I’m still trusting and get screwed over all the time. So now I always kind of look out for myself first and make sure I’m taking care of my kids. Other than that, everybody can fuck off.

Don’t ever give up on someone.
You can’t hold a grudge forever. Head coming back was awesome. We’re happy that he’s back and he’s normal. He just needed to leave for a while and get his life together and squared away so he could create again. Now he’s back and better than ever. You just can’t ever give up on people if you love them, and I’d never give up on him.

If your music makes you scared, then it’s good.
If you step outside your comfort zone, then you’re doing something innovative. It might not be great, but it’s a step in the right direction. We’ve always experimented and never wanted to do the same record twice. You’ve got to push yourself and try different things. For instance, the first single from our new album is “Never Never,” which is a really electronic song. It’s the only song like that on the album. It was so different, we were all scared of it. And it’s working out great, and people really like it. We did that with “Got the Life,” too. We were like, “Man, that can’t be our first single; that’s a kooky disco song.” We were all scared and bitching about it, but we’re like, “OK, let’s do it and see what happens.” Boom! It blew up. It’s just how it goes.

If you suffer from anxiety, just know that it will pass.
For me, I just remind myself that it’s my brain shooting a chemical to panic for no reason, that whole fight-or-flight thing. So I just go with it and tell myself that it’s going to pass. There’s nothing wrong. Get through it and breathe. But it is a fucking horrible experience — going through panic attacks, dealing with anxiety — but over the years I’ve learned.

Don’t take benzos for a long time.
That shit is horrible. My doctor took me off them when I was writing this record. I was detoxing for a week and a half, two weeks, but it took six months for it to actually stop. I was going through all the anxiety again. My brain was rewiring itself back to how it should be. It was horrible. I was shaking. I had to go on Phenobarbital so I wouldn’t go into seizures. Then I had to come off Phenobarbital. It was fucked up. It was the only option for me. I was just having raging anxiety attacks, and I couldn’t take anything for them. I just had to get through it, so it sucks.

If you need to go to rehab, go to the real deal with real addicts — none of that frou-frou shit.
You won’t ever want to go back to that place. That said, I’ve never been to a real rehab. When I got clean in ’98 and quit everything, I just did that by myself. I was fine with it and still am. I know I can’t do that stuff — I can’t drink, I can’t do drugs. For me, the thing was my kids. At the time in ’98, my son Nathan was three years old, and I came home and I was wasted. He’d look at me like he was scared, and that freaked me out. So I quit. And then on the pill thing, I had to go to rehab, because if you just stop taking Xanax cold turkey, you go into seizures, a coma, all kinds of crazy shit. You have to be under a doctor’s care for that.

You can be the life of the party, even when you’re sober.
What worked for me was I figured out that I wasn’t addicted to the actual drug per se. I was addicted to the rituals. So I actually became the life of the party. I was the one serving up drinks and chopping up lines or rolling joints. I would just do the ritual, but I wouldn’t partake. It was hard at first, but then I started enjoying it, because I’d wake up in the morning and I wouldn’t have a hangover and everybody else did. It helped me. A lot of people that go sober have to run away and can’t be around that stuff at all. For me, I just surrounded myself with it because that’s all that was around me, and I learned how to deal with it. I’d be laughing at these fools who were fucked up and puking in the morning.

It’s a cheesy saying, but I’m going to say it: Haters gonna hate.
That’s how I look at bad press. If you don’t have haters, then you aren’t doing something right. It comes with the territory. I don’t go up there looking for bad reviews, and I don’t try to read them. People that don’t understand what I do are not going to get it and they’re going to say bad things about it. It doesn’t necessarily mean that it’s bad. The duty of the reviewer is to write their opinion. That’s great, but it’s just their opinion.

Exercise indulgence instead of abstinence.
That’s a piece of advice I learned from Anton LaVey in The Satanic Bible. Not that the advice is satanic, I just like those words. Do whatever you want to do, just don’t hurt anyone. I’ve been doing that in my life for a long time. It pretty much eliminates guilt. If you want to fuck a billion chicks, don’t be married and have a family. Pretty self-explanatory. Just make yourself happy and you’ll be happy. Don’t worry about all the guilt. If you’re not hurting anybody, then it’s not bad.

Article: Jonathan Davis Interview with Ampya

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Read the original article on Ampya

For over twenty years, including the California Korn of the most successful flagship in Nu-rock and have been awarded many cult platinum albums such as “Life Is Peachy “, ” Follow The Leader ” or ” Untouchables ” influenced a whole generation. After her shot with mixed feelings last long player , the formation around the eccentric frontman Jonathan Davis now presents their brand new album “The Paradigm Shift ” again to its former strength .

Korn frontman Jonathan Davis has always been a bit rushed. Restless , breathless , and in some moments also strangely dreamy way to reverie when he talks about himself and his painfully personal songs. Songs in which the multiple father for nearly two decades puts everything on the table. Most of his anguish , the Korn since their 1994 debut album cathartic songs like ” Freak On A Leash “, ” Did My Time ” or the current output ” Never Never ” negotiate. By now in its eleventh studio album “The Paradigm Shift ” load Korn audience again to one of their infamous group therapies .

Your last album ” The Path Of Totality ” went with special guests including Skrillex , Noisia , Downlink or 12th Planet extremely towards Dubstep / Electronica . On the new album ” The Paradigm Shift” you focus mainly on Raprock again – failed experiment?

Jonathan Davis : No, not at all. In my eyes, this experiment worked very well. We did not want to repeat only. We always evolving, even if some people could develop these steps do not always understand. ” The Path of Totality ” was a great experience for us, with the new album we go again another way.

You have just moved into a beating for the last album by the metal press – how close were you to partially scathing criticism ?

Jonathan Davis : A lot of new fans liked it very much , our old hardcore fans were extremely pissed off. However, some people would also be pissed if I would re-write our debut again. Some people just need something that they can blaspheme. I do not know why, but there it is. It ‘s okay if people do not like our stuff. Eventually you learn that you can not make everyone happy. Then they should listen to our old records easily, so if it goes better for them . I feel this does not step on the toes , no one in the band does that actually there was with each of our albums also always those who have accused us some bullshit. Because we got used to it. I think we would do something wrong, if we would make everyone happy.

Before you started working on ” The Paradigm Shift” , you came just fresh out of rehab …

Jonathan Davis : For years I’ve swallowed sedatives such as Xanax and Valium to my panic attacks. One day I told my doctor , I would immediately stop , otherwise it would end very badly for me. So I went into a detox clinic to get all the shit out of my body. It was hell . Sedatives are the worst drug out there . The withdrawal is a thousand times worse than heroin withdrawal. That was the most horrible weeks of my life .

As you fight your panic attacks today ?

Jonathan Davis : I just endure them and wait until they are over. During withdrawal have given me only my three sons hold. The smallest , Nathan , was with his mother, but the other two , Pirate and Zeppelin are drawn into the studio for three months with me and have inspired me to make this album . It was very reassuring to have the two white dwarfs to me. We have recorded in the same studio where my father also worked at the time. I then watched him – now they have been watching me. The circle has closed somehow , a very nice feeling .

The spectacular return of your ex-guitarist Brian ” Head” Welch is now followed by another circle. Actually very surprising after your extremely ugly separation nearly eight years ago …

Jonathan Davis : What was said was said and forgiven . He has not had it easy . He got clean after decades of drug abuse and was somehow to God , which ended on a really bizarre Jesus trip . We were extremely mad at him because he has concocted a lot of shit about the band. Who would not be pissy if your brother spread lies about you ? He was confused , but now is the perfect time to bring him back again into the group. Indeed, it is as if he had never been away !


Original German article

Seit gut zwanzig Jahren zählen die kalifornischen Korn zu den erfolgreichsten Aushängeschildern im Bereich Nü-Rock und haben mit vielfach Platin ausgezeichneten Kultalben wie “Life Is Peachy”, “Follow The Leader” oder “Untouchables” eine ganze Generation geprägt. Nach ihrem mit gemischten Gefühlen aufgenommenen letzten Longplayer präsentiert sich die Formation um den exzentrischen Frontmann Jonathan Davis nun auf ihrem brandneuen Album “The Paradigm Shift” wieder in alter Stärke.
Korn-Frontmann Jonathan Davis wirkt immer ein wenig gehetzt. Unruhig, atemlos; in manchen Augenblicken auch seltsam verträumt bis hin zur Entrücktheit, wenn er über sich und seine schmerzhaft persönlichen Songs erzählt. Songs, in denen der mehrfache Familienvater seit nunmehr fast zwei Dekaden alles auf den Tisch legt. Größtenteils seine Seelenpein, die Korn seit ihrem 1994 Debütalbum in kathartischen Liedern wie “Freak On A Leash”, “Did My Time” oder dem aktuellen Output “Never Never“ verhandeln. Mit dem mittlerweile elften Studioalbum “The Paradigm Shift” laden Korn ihr Publikum wieder ein zu einer ihrer berüchtigten Gruppentherapien.
Euer letztes Album “The Path Of Totality” ging mit Special Guests wie Skrillex, Noisia, Downlink oder 12th Planet extrem in Richtung Dubstep/Electronica. Auf dem neuen Album “The Paradigm Shift” konzentriert ihr euch wieder hauptsächlich auf Raprock – Experiment gescheitert?
Jonathan Davis: Nein, überhaupt nicht. In meinen Augen hat dieses Experiment sehr gut funktioniert. Wir wollten uns bloß nicht wiederholen. Wir haben uns schon immer weiter entwickelt, auch wenn einige Leute diese Entwicklungsschritte nicht immer nachvollziehen konnten. “The Path of Totality” war eine tolle Erfahrung für uns; mit dem neuen Album gehen wir wieder einen anderen Weg.
Ihr habt für das letzte Album gerade von der Metal-Presse viel Prügel bezogen – wie nahe gingen dir die teilweise vernichtenden Kritiken?
Jonathan Davis: Viele neue Fans mochten es sehr, unsere alten Hardcore-Fans waren extrem angepisst. Doch manche Menschen wären auch angepisst, wenn ich unser Debüt noch mal neu schreiben würde. Manche brauchen einfach etwas, worüber sie lästern können. Ich weiß nicht warum, aber es ist so. Es ist okay, wenn Leute unsere Sachen nicht mögen. Irgendwann lernt man, dass man nicht jeden glücklich machen kann. Dann sollen sie sich einfach unsere alten Platten anhören, wenn es ihnen damit besser geht. Ich fühle mich dadurch nicht auf den Schlips getreten, niemand in der Band tut das. Eigentlich gab es mit jedem unserer Alben auch immer welche, die uns irgendeinen Bullshit vorgeworfen haben. Daran haben wir uns mittlerweile gewöhnt. Ich glaube, wir würden etwas falsch machen, wenn wir alle zufrieden stellen würden.
Bevor du mit den Arbeiten an “The Paradigm Shift” begonnen hast, kamst du gerade frisch aus der Rehab…
Jonathan Davis: Ich habe jahrelang Beruhigungsmittel wie Xanax und Valium gegen meine Panikattacken geschluckt. Eines Tages sagte mir mein Arzt, ich müsste sofort damit aufhören, ansonsten würde es sehr schlimm für mich enden. Also ging ich in eine Entgiftungsklinik, um die ganze Scheiße wieder aus meinem Körper zu bekommen. Es war die Hölle. Beruhigungsmittel sind die schlimmsten Droge, die es gibt. Der Entzug ist noch tausend Mal schlimmer als Heroinentzug. Das waren die schrecklichsten Wochen meines Lebens.
Wie bekämpfst du heute deine Panikattacken?
Jonathan Davis: Ich ertrage sie einfach und warte, bis sie vorbei sind. Während des Entzuges haben mir einzig meine drei Söhne Halt gegeben. Der kleinste, Nathan, war bei seiner Mutter, aber die beiden anderen, Pirate und Zeppelin, sind mit mir für drei Monate ins Studio gezogen und haben mich inspiriert, dieses Album zu machen. Es war sehr beruhigend, die beiden Zwerge um mich zu haben. Wir haben im gleichen Studio aufgenommen, in dem auch mein Vater damals gearbeitet hat. Ich habe damals ihm zugeschaut – heute haben sie mir zugeschaut. Der Kreis hat sich irgendwie geschlossen; ein sehr schönes Gefühl.
Mit der spektakulären Wiederkehr eures Ex-Gitarristen Brian “Head” Welch schließt sich nun ein weiterer Kreis. Eigentlich sehr überraschend nach eurer extrem unschönen Trennung vor knapp acht Jahren…
Jonathan Davis: Was gesagt wurde, wurde gesagt und ist verziehen. Er hat es nicht leicht gehabt. Er wurde nach jahrzehntelangem Drogenmissbrauch clean und fand irgendwie zu Gott, was auf einem wirklich bizarren Jesus-Trip geendet hat. Wir waren damals extrem sauer auf ihn, weil er eine Menge Scheiße über die Band verzapft hat. Wer wäre nicht pissy, wenn dein Bruder Lügen über dich verbreitet? Er war verwirrt, doch heute ist der perfekte Zeitpunkt, ihn wieder zurück in die Gruppe zu holen. Tatsächlich ist es, als wäre er niemals fort gewesen!

Video: Jonathan Davis on Metal XS (France)

Screen Shot 2013-10-05 at 4.45.30 PM

Metal XS – S02E02 – EN from METAL XS on Vimeo.

Hard Force Metal XS

Article: Jonathan Davis Talks To Radio Metal (France)

Radio Metal

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With the return of guitarist Head, we can say that Korn was expected to turn . But if there ‘s one thing Korn not listening – or pretended not to listen – what are the expectations of the public. The summit group of complainers forget dubstep experiments and come back with a fundamentally metal album? Korn then offer their ” Never Never ,” one of the most pop songs of his career . ” I like to go against what is expected , I like that you’re not supposed to do ,” explains the singer Jonathan Davis in the following interview .

But the task that is especially harnessed the group is , on the one hand , test the return of Head, ensure that it was likely to work, and , secondly , go to the forward with their new album. The result is The Paradigm Shift, or a repeat of The Path Of Totality , or a denial , it is primarily a mixed album where Korn takes more than ever its know -how acquired over the years.

We talk below with Jonathan Davis, always nice , always good client, even when it comes to tackling a little more personal subject.

“With this group , we can not make the same album over and over again , we would go crazy ! ”
Radio Metal : Did you have certainty about the return of Head in the group , alchemy and the success of the reunion ? Does everyone in the group was convinced that the magic would operate again?

Jonathan Davis (vocals) : No, we did not know what would happen . I do not have a clue . I just knew that we were missing a lot and I think the group was excited to have him back . We did not know what it was going to give . No idea . We did not know if it would take off again , we did not know what was going to happen , so … the fact that back and make this small tour together , and here in the United States , it was a kind of test to see what would happen. And it was great! It was like he never left ! So yeah, we’re really glad he’s back!

All fans were buzzing about the return of Head in the group and rely heavily on it. But from your perspective, is not it a bit frustrating to see people, somehow , overlooked what you have done in the meantime ?

No, I guess that’s normal . It’s exciting for the fans, who have been fans for so long, to get her back . I mean, it’s exciting and that’s how they found us in the beginning, it was four of us. I think it is natural for them to feel excited but we are very well worn when he was not there … So it’s a bonus for them.

The last time we spoke , you said that the group was still trying new experiences with each album. What was the experience this time and how would you describe it?

We have done things in reverse this time in comparison to The Path Of Totality where we started with DJs . We wrote the songs with them first and then we added guitars, Munky came and did what he had to do and Fieldy came and did his stuff , etc. . This time , the music was written first and electronics was added in a second time . It really worked , really well, and having Head again … He was always the guy who adds melodic lines above it. The have with us again really reinjected his paw in the music, because the way Munky and Head and going to the guitar was missing. Now that it’s back , it made it even better .

Somehow , we can say that The Paradigm Shift has the melodic sense of Untouchables , the aggressiveness of Take A Look Into The Mirror , electronic components reminiscent The Path Of Totality … Would you agree this album is a combination of all the different elements that could be heard in the career of Korn ?

I think so, yeah . It happened naturally. You know, we have experienced and experienced , and we have made all these rather special when albums and Head came back, all these things are melted together. It came out in a single album.

Was that intentional ?

Um … Yeah . This was intentional to keep the electronics but it should not be a dubstep album , it’s not going to be like The Path Of Totality , but we still intend to use elements . And that’s all I could say at first. We had no idea what it would look like until we really started to get to work .

“We are finally at the stage where we are not afraid to do whatever we want. We do not write an album for fans in particular, but for us to challenge ourselves. ”
The Path Of Totality was a controversial album, The Paradigm Shift and yet still contains elements of dubstep rhythms. Was it a way to benefit from the experience and declare that even today you fully embrace what you did with The Path Of Totality , while some people would have expected to see you put that aside ?

Yeah . When we made The Path Of Totality , we had so much fun , it was an amazing album. It was so different . We took the opportunity to do so , and it came out something great and a lot of people liked it . So we do not redo the same thing, but we do it a different way . With this group , we can not make the same album over and over again , we would go crazy ! It is always a matter of experiment and do different things . It’s fun to push the limits , try to do things differently and do not worry about what the fans and other people think . Because if you start doing that , you start to make each of your albums in the same way sound like AC / DC or stuff like that , those groups who do the same … It works for them and I think their album are great , but that’s what they do, they redo the same thing again and again. For us, as we write and do different things , we offer more of a challenge and it is much more fun . You do not want to become boring, stagnant and do something that sounds dated … Always change . This is what we do in this group.

You have also chosen the ” Never Never ” song as the first single, which is the most pop song on the album and it contains dubstep elements . Is this choice is a way to play with your audience?

Oh , I always do it for the cause ! Fuck, yeah, for sure I did it on purpose! Because I knew that all the metalheads would frurax ! Strict guys who listen to metal are always like that. All other worship . I think the proportions are eighty against twenty … But I like to do that , I like to go against what is expected , I like that you’re not supposed to do. Everyone expected to see out a song that balance , because Head was back, and we did the opposite. With this group , we do what is unexpected. It works and it’s great , people love it. It’s a good song. You can be angry and say it sucks , but I know that the back of their head , they sing because it is so catchy ! (Laughter)

As a producer on this album , Don Gilmore seems to have made the link between most electronic things you have done recently and the more traditional approach of Korn . How you would measure its contribution to the album?

I can not really say. It was a lot of fun working with him . He does things and brought out of the coolest way possible. There was really nothing negative or arrogant, no ego , no “No, you will do this, you will do it .” He really is a good way . This guy is a genius and I love working with him. He is very good at what he does .

The Paradigm Shift contains one of the most positive moments in the career of Korn but also darker. The musical spectrum of this album is very broad. Do you think it symbolizes the sense of freedom of the group.

I think so . We’re finally at this point where we ‘re not afraid to do whatever we want. We do not write an album for fans in particular, but for us to challenge ourselves and everything is about to seize the opportunities . Sometimes it works, sometimes not. But, you know , whenever we make an album , it’s great and it’s fun . And as artists , do something different and creative … We made eleven albums, it is very difficult to do something different with each of them! But somehow , we have met the challenge . It is simply amazing to be eleven albums and still be passionate and always motivated to write different things.

“It’s just amazing to be eleven albums and still be passionate and always motivated to write different things. ”
The album sometimes gives the impression that you wanted to play with your voice , whether in the contrast between the aggressive and melodic parts that go almost in tones death metal or experiments like what you do in ” Lullaby For A Sadist “or” Spike In My Veins ” . Did you test your voice and experiment a little with it?

No, I only sing with my heart ! It was really nothing conscious. At the time, I was in rehab , I was taking medication against anxiety and stuff to clear heroin. And my youngest son was diagnosed with diabetes , so it has totally changed my life. I was not there … From the point of view of the text, my voice , the song , the album is roughly done alone … I was distant, I was not there . Seriously, it was really difficult . I moved to the studio and I brought my two youngest son to help me. They were my muses, they were the ones that motivated me to move forward, stay positive , when I fell into this hole , because I do not feel well , I was shaking because of the rehab , I always have nightmares , j ‘ had a lot of crazy shit completely , and on top of that I was dealing with Zeppelin to him his insulin injections, check your fingers, etc. . I was offline for a while. Really . It was a very intense moment and I think it helped me get rid of some crap in my subconscious , but I did not march so far . I was there to do what I had to do without thinking, and half of the songs , I do not even know what they were talking about … (Laughs) It was really crazy, it was an experience crazy, but it was positive and fun . I had a good time .

Recently, Fieldy said that you got around twenty or twenty- five songs for this album and you only included the best on the album. In the end the album has eleven songs and two bonus tracks …

Yeah, we recorded a total of fifteen songs and what is the other ten , we have left out, because I have not had time to sing all . I chose the five that I thought was the best and singles.

What other songs do you do?

They are set aside . I’m sure when I get bored when I got home , I would have time, so I would start working on it. They see the light of day in one way or another.

There is a song called ” Mass Hysteria ” …

Yeah, I know you enjoy it , I know it is a French group ! (Laughs) They worked with one of my engineers, Tim Harkins , on one of their albums. They came and recorded in my studio. This song is a big joke for me because I constantly Head on the back that told me ( he imitates Head) : ” What the hell ! I am a metalhead , I want to do metal , I want guitars, guitars! ” And I was like ,” I want more electronics and do something different, more modern ! ” This song is arriving and I said,” I ‘ll write the most metal song that I could think of in my entire life ! “And that’s how this song was made . It was a joke at first but it ended up being great ! I thought ” Damn, that was messed up ! ”

There is absolutely no connection with the French group …

No! When I did it , I thought : “Yeah, there is a group in France called Mass Hysteria . He will love it . ” But it’s more about the state of the world right now , all these shit stamped happens , from an economic point of view, all these revolutions in the Middle East , etc. . It gives me the feeling that the world is going through a kind of mass hysteria .

“I really think a lot of music today is going to stagnate. ”
Korn was the first group to mix dubstep and rock or metal . Since then, many groups have not walked in your dubstep including in some of their songs. As Muse for example. Do you have the feeling of being leader again?

Oh yeah ! This is great! I mean, you can not not be proud . When I said I wanted to do that, I wanted to do well , that’s why I wanted to have all these guys who are great DJs , they know what they are doing. In the new stuff coming out there that are cool , but I guess they did it themselves ! What I mean is that I would not have been able to do at first but now I can do it myself , and even I will not do it . It took me to work with these guys to learn and I still have much to learn to produce and this style of music.

In recent years , you have given concerts as a DJ , do you intend to go further in there or electronics in general ?

Yeah ! What I do with JDevil , I love. And I have another group Killbot we are working on another EP soon as we finish . It’s funny, the EP Killbot worked better than Korn III ! It has sold more than Korn III , it means everything. (Laughs) I ‘m very excited about it , I love it , this music excites me and it could be fun .

In 2012 , you made two visits to the camp of U.S. forces in Ramstein , Germany. With hindsight, how do you analyze what you have seen and done it ? Why did you choose to make such a visit?

I wanted to do it just to say ” thank you ” to these guys . I mean … These stories of wars, it sucks , but these guys do what they are told to do, you know . And fight for our freedom. There are places in the world where you do not have freedom of speech , where you do not have the right to go on the Internet, there are tons of places like this in the world. And when it flares up , it is the time when we must go to war . Necessary. And I just wanted to thank these guys to risk their lives and give their legs and their members, and all I could see , so that we can be free. These guys do what they tell them to do , so I needed to go and tell them that I liked to say ” thank you ” for me and the band, for my children and all … because what they do is really, really special. And I grew up with my two grandfathers who were World War II . Often , my grandparents threw me to the ground , thinking that there was shelling and things like that . I understand what these guys go through . So it was something that was necessary for me , for my balance. I wanted to go personally and thank them.

We recently spoke with Abe Cunningham of Deftones, one with whom you have shared the road sometimes , about the golden rock and metal in the 90s age group. He said that this period lacked. For him, it was a great time with great bands and lots of creativity . It was also at this time that you have reached the peak of your popularity . How do you see this time?

I think it was a good time. The music industry was doing well, things were going well … And then everything changed , everything was different. And I really think that much of the music is now being stagnate. I am always interested in electronic music, but it is this fact that makes me even more to dubstep music with bass as we hear today and all these electronic stuff. In my eyes, this is what the rock was in the 90s , it’s exciting , it’s new , it’s different. And this is what attracts me me . I really like it.

“If I did not have children, I ‘d be dead. [ ... ] Having a responsibility and then have three little guys who depend on you to live, it really changes the way you see life . ”
Head back with the group , was not it tempting to recall David Silveria also ?

Not for a moment . (he takes a look half serious , half- mocking )

Are you still in touch with him ?

No, this guy has problems. (Laughs ) No, we’re really happy with Ray , it is now our drummer . He enjoys playing the drums, he is very open to … When we write , he tries everything. All that we could not do with David , he does, and so it is a real pleasure. It contributes to a good atmosphere, very positive.

You have three children, one of whom nearly eighteen years now. How do they live your fame and your status , so to speak , “special” compared to other parents?

Nathan enjoys and now it’s DJ , he concerts, he produces music , he has his group , Brickhouse , which works well. Then there is my other imps , Pirate and Zeppelin, and they love it ! They tell me ( it takes a very proud and smiling ): ” Hey Dad , you’re rock star! ” They love it , they are so funny . If I go to a drive-thru at McDonald’s or something , they yell , “Hey, this is Jonathan Davis of Korn ! ” Bullshit and swing in the genre, and everyone in the restaurant just ask me :” Do I have your autograph ? ” Hey, do not rock me all the time! These are little pranksters . So they really like it . My two youngest love it. Nathan was very disheartened and shy when he was young and it bothered him when people wanted to take pictures of me and stuff. These two, they are crazy . They burned my coverage constantly , whenever they have the chance because they think it’s cool! (Laughs)

Are you becoming a father helped fight the demons of your own childhood?

Oh, clearly . If I did not have children, I ‘d be dead. I mean, having a responsibility and then have three little guys who depend on you to live, it really changes the way you see life . I love music , and that’s why I do, but I do it so that they have a good life. It kills me to leave , I miss them a lot, but you know … I ‘m here to work so they can go to a good university and do the things they have to do . I love being a father . I love it, it is on par with … With my music , these are the two most important things in my life. Everything else is secondary.

Interview face-to -face Tuesday, August 13, 2013 by Amphisbaena
Transcription and translation: Amphisbaena and Spaceman .
Introduction: Spaceman


Original French article

Avec le retour du guitariste Head, on peut dire que Korn était attendu au tournant. Mais s’il y a bien une chose que Korn n’écoute plus – ou fait mine de ne plus écouter – ce sont les attentes du public. Les râleurs somment le groupe d’oublier les expérimentations dubstep et de revenir avec un album foncièrement metal ? Alors Korn leur offre « Never Never », l’une des chansons les plus pop de sa carrière. « J’aime aller à l’encontre de ce qui est attendu, j’aime faire ce que tu n’es pas supposé faire », nous explique le chanteur Jonathan Davis dans l’entretien qui suit.

Mais la tâche à laquelle s’est surtout attelé le groupe, c’est, d’une part, tester le retour de Head, s’assurer que cela avait des chances de fonctionner, et, d’autre part, aller de l’avant avec leur nouvel album. Le résultat est The Paradigm Shift, ni une redite de The Path Of Totality, ni un reniement, il est avant tout un album contrasté où Korn met plus que jamais à profit son savoir-faire acquis avec les années.

On en parle ci-après avec Jonathan Davis, toujours agréable, toujours bon client, même lorsqu’il s’agit d’aborder des sujet un peu plus personnels.

« Avec ce groupe, nous ne pouvons pas refaire le même album encore et encore, nous deviendrions fous ! »
Radio Metal : Avais-tu des certitudes au sujet du retour de Head au sein du groupe, de l’alchimie et du succès de ces retrouvailles ? Est-ce que tout le monde dans le groupe était persuadé que la magie allait opérer à nouveau ?

Jonathan Davis (chant) : Non, nous ne savions pas ce qui allait arriver. Je n’en avais pas la moindre idée. Je savais juste qu’il nous manquait énormément et je crois que le groupe était excité à l’idée de le voir revenir. Nous ne savions pas ce que cela allait donner. Aucune idée. Nous ne savions pas si cela allait décoller à nouveau, nous ne savions pas ce qui allait se produire, donc… le fait qu’il revienne et faire cette petite tournée ensemble, ici et aux États-Unis, c’était une sorte de test pour voir ce qui allait se passer. Et c’était génial ! C’était comme s’il n’était jamais parti ! Donc, ouais, nous sommes vraiment heureux qu’il soit de retour !

Tous les fans étaient en effervescence au sujet du retour de Head dans le groupe et ont beaucoup misé dessus. Mais de ton point de vue, n’est-ce pas un peu frustrant de voir les gens, d’une certaine manière, négliger ce que vous avez fait entre temps ?

Non, je suppose que c’est normal. C’est excitant pour ces fans, qui ont été fans pendant si longtemps, d’obtenir son retour. Je veux dire, c’est excitant et c’est ainsi qu’ils nous ont découverts à l’origine, c’était nous quatre. Je pense que c’est naturel pour eux de se sentir excité mais nous nous sommes très bien portés lorsqu’il n’était pas là… C’est donc un bonus pour eux.

La dernière fois que nous nous sommes parlés, tu disais que le groupe essayait toujours de nouvelles expériences avec chaque album. Quelle était donc l’expérience cette fois-ci et comment la décrirais-tu ?

Nous avons fait les choses en sens inverse cette fois-ci en comparaison de The Path Of Totality où nous avions commencé avec des DJs. Nous avions écrit les chansons avec eux en premier et ensuite nous avions ajouté les guitares, Munky est venu et a fait ce qu’il avait à faire et Fieldy est venu et a fait ses trucs, etc. Cette fois-ci, la musique a été écrite en premier et l’électronique a été ajoutée dans un second temps. Ça a vraiment fonctionné, vraiment bien, et avoir Head de nouveau… Il a toujours été le gars qui ajoute les lignes mélodiques au-dessus du tout. L’avoir avec nous de nouveau a vraiment réinjecté sa patte dans la musique, car la manière dont Munky et Head vont et viennent à la guitare me manquait. Maintenant que c’est revenu, ça a rendu le tout encore meilleur.

D’une certaine manière, on peut dire que The Paradigm Shift possède le sens mélodique d’Untouchables, l’agressivité de Take A Look Into The Mirror, des éléments électroniques qui rappellent The Path Of Totality… Serais-tu d’accord pour dire que cet album est une combinaison de tous les éléments différents que l’on a pu entendre dans la carrière de Korn ?

Je le pense, ouais. C’est arrivé naturellement. Tu sais, nous avons expérimenté et expérimenté, et nous avons réalisé tous ces albums un peu particuliers et lorsque Head est revenu, toutes ces choses se sont fondues ensemble. C’est ressorti dans un seul et même album.

Était-ce intentionnel ?

Hum… Ouais. C’était intentionnel de conserver l’électronique mais ce ne devait pas être un album de dubstep, ça n’allait pas être comme The Path Of Totality, mais nous avions quand même l’intention d’en utiliser des éléments. Et c’est tout ce que je pouvais dire au début. Nous n’avions aucune idée de ce à quoi ça allait ressembler, jusqu’à ce que nous commencions vraiment à nous mettre au travail.

« Nous sommes enfin à ce stade où nous n’avons pas peur de faire tout ce que nous voulons. Nous n’écrivons pas un album pour des fans en particulier, mais pour nous défier nous-mêmes. »
The Path Of Totality était un album controversé, et pourtant The Paradigm Shift contient toujours des éléments et des rythmes dubstep. Était-ce une manière de tirer profit de l’expérience et de déclarer qu’encore aujourd’hui, vous assumez totalement ce que vous avez fait avec The Path Of Totality, alors que certaines personnes se seraient attendues à vous voir mettre ça de côté ?

Ouais. Lorsque nous avons fait The Path Of Totality, nous nous sommes tellement amusés, c’était un album incroyable. C’était si différent. Nous avons saisi l’opportunité de le faire, et il en est ressorti quelque chose de super et énormément de gens l’ont aimé. Donc, nous ne refaisons pas la même chose, mais nous le faisons d’une manière différente. Avec ce groupe, nous ne pouvons pas refaire le même album encore et encore, nous deviendrions fous ! C’est toujours une question d’expérimenter et de faire des choses différentes. C’est amusant de repousser les limites, essayer de faire les choses différemment et ne pas s’inquiéter de ce que les fans et les autres gens penseront. Car si tu commences à faire ça, tu commences à faire sonner chacun de tes albums de manière identique, comme AC/DC ou des trucs dans le genre, ces groupes qui font le même… Ça marche pour eux et je pense que leurs album sont géniaux, mais c’est ce qu’ils font, ils refont la même chose encore et encore. Pour nous, écrire comme nous le faisons et faire des choses différentes, nous offre plus de challenge et c’est bien plus amusant. Tu ne veux pas devenir ennuyeux, stagner et faire quelque chose qui sonne daté… Il faut toujours changer. C’est ce que nous faisons dans ce groupe.

Vous avez d’ailleurs choisi la chanson « Never Never » en tant que premier single, qui est la chanson la plus pop de l’album et elle contient des éléments dubstep. Est-ce que ce choix est une manière de jouer avec votre audience ?

Oh, je fais toujours ça, pour les provoquer ! Putain, ouais, pour sûr j’ai fait exprès ! Car je savais que tous les metalleux seraient frurax ! Les mecs strictes qui écoutent du metal sont toujours comme ça. Tous les autres l’adorent. Je pense que les proportions sont de quatre-vingt contre vingt… Mais j’aime faire ça, j’aime aller à l’encontre de ce qui est attendu, j’aime faire ce que tu n’es pas supposé faire. Tout le monde s’attendait à voir sortir une chanson qui balance, car Head était de retour, et nous avons fait l’inverse. Avec ce groupe, nous faisons ce qui est inattendu. Ça fonctionne et c’est super, les gens l’adorent. C’est une bonne chanson. Tu peux être furieux et dire qu’elle est merdique, mais je sais qu’à l’arrière de leur tête, ils la chantent, car elle est tellement accrocheuse ! (Rire)

En tant que producteur sur cet album, Don Gilmore semble avoir fait le lien entre les choses plus électroniques que vous avez faites récemment et l’approche plus traditionnelle du son de Korn. Comment mesurerais-tu sa contribution à l’album ?

Je ne peux pas vraiment dire. Ça a été un partie de plaisir de travailler avec lui. Il a fait des choses et les a fait ressortir de la manière la plus cool possible. Il n’y avait vraiment rien de négatif ou d’arrogant, pas d’ego, pas de « non, tu feras ceci, tu feras cela ». Il l’a vraiment fait d’une bonne manière. Ce mec est un génie et j’adore travailler avec lui. Il est très bon dans ce qu’il fait.

The Paradigm Shift contient parmi les moments les plus positifs dans la carrière de Korn mais aussi les plus sombres. Le spectre musical de cet album est très large. Penses-tu qu’il symbolise le sens de la liberté du groupe.

Je pense que oui. Nous sommes enfin à ce stade où nous n’avons pas peur de faire tout ce que nous voulons. Nous n’écrivons pas un album pour des fans en particulier, mais pour nous défier nous-mêmes et tout est une question de saisir les chances. Parfois ça fonctionne, parfois non. Mais, tu sais, chaque fois que nous faisons un album, c’est génial et c’est fun. Et puis, en tant qu’artistes, faire quelque chose de différent et créatif… Nous avons réalisé onze albums, c’est très difficile de faire quelque chose de différent avec chacun d’entre eux ! Mais d’une certaine manière, nous avons relevé le défi. C’est simplement incroyable d’en être à onze albums et être encore passionné et toujours motivé à écrire des choses différentes.

« C’est simplement incroyable d’en être à onze albums et être encore passionné et toujours motivé à écrire des choses différentes. »
L’album donne parfois le sentiment que tu voulais jouer avec ta voix, que ce soit dans les contrastes entre les parties mélodiques et agressives qui vont presque dans des tonalités death metal ou avec des expérimentations comme ce que tu fais dans “Lullaby For A Sadist” ou “Spike In My Veins”. Voulais-tu tester ta voix et expérimenter un peu avec ?

Non, je ne fais que chanter avec mon cœur ! Ce n’était vraiment rien de conscient. A l’époque, j’étais en désintox, je prenais des médicament contre l’anxiété et des trucs pour dégager l’héroïne. Et mon plus jeune fils a été diagnostiqué avec du diabète, donc cela a totalement changé ma vie. Je n’étais pas là… Du point de vue des textes, de ma voix, du chant, l’album s’est grosso modo fait tout seul… J’étais distant, je n’étais pas là. Sérieusement, c’était vraiment difficile. Je me déplaçait au studio et j’amenais mes deux plus jeunes fils pour m’aider. Ils étaient mes muses, ils étaient ceux qui me motivaient à avancer, à rester positif, lorsque je tombais dans ce trou, car je ne me sentais pas bien, je tremblais à cause de la désintox, j’avais en permanence des cauchemars, j’avais plein de merdes complètement folles, et en plus de ça je m’occupais de Zeppelin pour lui faire ses injections d’insulines, vérifier ses doigts, etc. J’étais déconnecté pendant un moment. Vraiment. C’était un moment vraiment intense et je pense que ça m’a aidé à me débarrasser de certaines merdes dans mon inconscient, mais je ne me suis pas défilé pour autant. J’étais là, à faire ce que j’avais à faire sans y penser, et pour la moitié des chansons, je ne savais même pas de quoi elles parlaient… (Rires) C’était vraiment fou, c’était une expérience de dingue, mais c’était positif et fun. J’ai pris du bon temps.

Récemment, Fieldy a dit que vous aviez obtenu autour de vingt ou vingt-cinq chansons pour cet album et vous avez seulement inclus les meilleures sur l’album. Au final l’album compte onze chansons et deux titres bonus…

Ouais, nous avons enregistré un total de quinze chansons et pour ce qui est des dix autres, nous les avons laissé de côté, car je n’ai pas eu le temps de toutes les chanter. J’ai donc choisi les quinze que je pensais être les meilleures et les singles.

Que ferez-vous des autres chansons ?

Elles sont mises en réserve. Je suis sûr que lorsque je m’ennuierais en rentrant chez moi, j’aurais du temps, donc je commencerais à travailler dessus. Elles verront la lumière du jour d’une manière ou d’une autre.

Il y a une chanson intitulée « Mass Hysteria »…

Ouais, je sais que vous appréciez ça, je sais que c’est un groupe français ! (Rires) Ils ont travaillé avec l’un de mes ingénieurs, Tim Harkins, sur l’un de leurs albums. Ils sont venus et ont enregistré dans mon studio. Cette chanson est une grosse blague pour moi, car j’avais constamment Head sur le dos qui me disais (il imite Head) : « C’est quoi ce bordel ! Je suis un metalleux, je veux faire du metal, je veux des guitares, des guitares ! » Et moi j’étais là : « Je veux plus d’électronique et faire quelque chose de différent, de plus moderne ! » Cette chanson est donc arrivée et je me suis dit : « Je vais écrire les paroles les plus metal auxquelles je pourrais penser dans ma vie entière ! », et c’est ainsi que cette chanson a été faite. C’était une blague au début mais elle a fini par devenir excellente ! Je me disais « Merde, ça a foiré ! »

Il n’y a donc absolument aucun lien avec le groupe français…

Non ! Lorsque je l’ai faite, j’ai pensé : « Ouais, il y a un groupe en France qui s’appelle Mass Hysteria. Il aimeront ça. » Mais c’est plus à propos de l’état du monde en ce moment, toutes ces merdes de timbrés qui se passe, d’un point de vue économique, toutes ces révolutions au Moyen-Orient, etc. Ça me donne le sentiment que le monde traverse une sorte d’hystérie de masse.

« Je pense vraiment qu’une grande part de la musique est aujourd’hui en train de stagner. »
Korn était le premier groupe à mélanger dubstep et rock ou metal. Depuis lors, de nombreux groupes ont marché dans vos pas en incluant du dubstep dans certaines de leurs chansons. Comme Muse par exemple. Est-ce que vous avez eu le sentiment d’être leader à nouveau ?

Oh ouais ! C’est génial ! Je veux dire, tu ne peux pas ne pas en être fier. Lorsque j’ai dit que je voulais faire ça, je voulais le faire bien, voilà pourquoi j’ai voulu avoir tous ces gars qui sont de grands DJs, ils savent ce qu’ils font. Dans les nouveaux trucs qui sortent il y en a qui sont cool, mais je peux deviner qu’ils ont fait ça par eux-mêmes ! Ce que je veux dire c’est que je n’aurais pas su le faire au début mais maintenant je peux le faire moi-même, et, quand bien même, je ne le ferai pas. Il a fallu que je travaille avec ces mecs pour apprendre et j’ai encore énormément à apprendre pour produire et faire ce style de musique.

Ces dernières années, tu as donné des concerts en tant que DJ, as-tu l’intention d’aller plus loin là-dedans ou avec l’électronique en règle générale ?

Ouais ! Ce que je fais avec JDevil, j’adore. Et j’ai un autre groupe, Killbot, nous travaillons sur un autre EP que nous aurons bientôt fini. C’est marrant, l’EP de Killbot a mieux fonctionné que Korn III ! Il a plus vendu que Korn III, ça veut tout dire. (Rires) Je suis donc très excité à ce sujet, j’adore ça, cette musique me passionne et ça pourrait être fun.

En 2012, tu as fait deux visites au camp des forces armées américaines à Ramstein en Allemagne. Avec du recul, comment analyses-tu ce que tu y as vu et fait ? Pourquoi avoir choisi de faire une telle visite ?

J’ai voulu faire ça simplement pour dire « merci » à ces gars. Je veux dire… Ces histoires de guerres, c’est nul, mais ces mecs font ce qu’on leur dit de faire, tu sais. Et il combattent pour notre liberté. Il y a des endroits dans le monde où tu n’as pas de liberté de parole, où tu n’as pas le droit d’aller sur Internet, il y a des tonnes d’endroits comme ça dans le monde. Et quand ça s’embrase, c’est le moment où il faut aller à la guerre. C’est nécessaire. Et je voulais simplement remercier ces gars de risquer leur vie et donner leurs jambes et leurs membres, et tout ce que j’ai pu voir, pour que nous puissions être libres. Ces gars font ce qu’on leur dire de faire, et donc j’ai eu besoin d’y aller et de leur dire que j’appréciais, de dire « merci » pour moi et pour le groupe, pour mes enfants et tout… Car ce qu’ils font est vraiment, vraiment spécial. Et j’ai grandi avec mes deux grand-pères qui ont fait la Seconde Guerre Mondiale. Souvent, mes grand-pères me jetaient à terre, pensant qu’il y avait des tirs d’obus et ce genre de choses. Je comprends ce que ces gars traversent. C’était donc quelque chose pour moi qui était nécessaire, pour mon équilibre. Je voulais y aller personnellement et les remercier.

On a récemment parlé avec Abe Cunningham des Deftones, un groupe avec lequel vous avez parfois partagé la route, au sujet de l’âge d’or du rock et du metal dans les années 90. Il disait que cette période lui manquait. Pour lui, c’était une période géniale avec de supers groupes et beaucoup de créativité. C’est aussi à ce moment-là que vous avez atteint le sommet de votre popularité. Comment vois-tu cette époque ?

Je pense que c’était une bonne époque. L’industrie de la musique se portait bien, les choses allaient bien… Et ensuite, tout a changé, tout était différent. Et je pense vraiment qu’une grande part de la musique est aujourd’hui en train de stagner. Je me suis toujours intéressé à la musique électronique, mais c’est ce constat qui me pousse d’autant plus vers le dubstep, les musiques avec des basses comme on en entend aujourd’hui et tout ces trucs électroniques. A mes yeux, c’est ce que le rock était dans les années 90, c’est excitant, c’est neuf, c’est différent. Et c’est ce qui me m’y attire. J’aime vraiment ça.

« Si je n’avais pas d’enfants, je serais mort. [...] Le fait d’avoir une responsabilité et ensuite avoir trois petits gars qui dépendent de toi pour vivre, ça change vraiment ta manière de voir la vie. »
Avec Head de retour dans le groupe, n’était-ce pas tentant de rappeler David Silveria également ?

Pas un seul instant. (il prend un air à moitié sérieux et à moitié moqueur)

Es-tu toujours en contact avec lui ?

Non, ce mec a des problèmes. (Rires) Non, nous sommes vraiment heureux avec Ray, il est notre batteur désormais. Il aime jouer de la batterie, il est très ouvert à… Lorsque nous écrivons, il essaie tout. Tout ce que nous ne pouvions pas faire avec David, lui le fait, et donc c’est un vrai plaisir. Ça contribue à une bonne atmosphère, très positive.

Tu as trois enfants, dont un qui a presque dix-huit ans maintenant. Comment vivent-ils ta célébrité et ton statut, pour ainsi dire, « spécial » par rapport aux autres parents ?

Nathan apprécie et maintenant il est DJ, il fait des concerts, il produit de la musique, il a son groupe, Brickhouse, qui marche bien. Ensuite il y a mes autres diablotins, Pirate et Zeppelin, et ils adorent ça ! Ils me disent (il prend un air très fier et souriant) : « Hey papa, tu es rock star ! » Ils adorent ça, ils sont tellement drôles. Si je vais dans un drive-thru au McDo ou quelque chose comme ça, ils hurlent « Hey, c’est Jonathan Davis de Korn ! » et balancent des conneries dans le genre, et tout le monde dans le restaurant vient me demander : « Est-ce que je peux avoir un autographe ? » Hey, ne me balancez pas tout le temps ! Ce sont des petits farceurs. Donc, ils aiment vraiment ça. Mes deux plus jeunes aiment ça. Nathan était très rebuté et timide lorsqu’il était jeune et ça l’embêtait lorsque les gens voulaient prendre des photos de moi et ce genre de choses. Ces deux là, ils en sont dingues. Ils grillent ma couverture constamment, dès qu’ils en ont la chance, car ils trouvent ça cool ! (Rires)

Est-ce que devenir père t’a aidé à combattre les démons de ta propre enfance ?

Oh, clairement. Si je n’avais pas d’enfants, je serais mort. Je veux dire, le fait d’avoir une responsabilité et ensuite avoir trois petits gars qui dépendent de toi pour vivre, ça change vraiment ta manière de voir la vie. J’aime la musique, et c’est la raison pour laquelle j’en fais, mais je le fais aussi de manière à ce qu’ils aient une bonne vie. Ça me tue de les laisser, ils me manquent énormément, mais tu sais… Je suis ici pour travailler pour qu’ils puissent aller à une bonne université et faire les choses qu’ils ont à faire. J’aime être père. J’adore ça, c’est à égalité avec… Avec ma musique, ce sont les deux choses les plus importantes dans ma vie. Tout le reste est secondaire.

Interview réalisée en face-à-face le mardi 13 août 2013 par Amphisbaena
Retranscription et traduction : Amphisbaena et Spaceman.
Introduction : Spaceman

Video: Jonathan Davis On Preston & Steve’s Daily Rush on WMMR

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Commercial: Jonathan Davis Talks Soundwave 2014

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MATT MUNOZ: Korn enshrined with the greats

Photo by Josie Borisow

Wednesday, Oct 02 2013 01:59 PM
MATT MUNOZ: Korn enshrined with the greats
By The Bakersfield Californian

The famed RockWalk located outside the Guitar Center storefront on Sunset Boulevard in Hollywood has become a mecca for musicians of all ages longing for proof of rock’s immortality.

Read the original article on Bakersfield Californian

Similar to the hallowed courtyard at Mann’s Chinese Theatre, the retailer’s patio area is filled with a series of concrete handprints and plaques belonging to some of the greatest names in rock, blues, jazz and beyond: Chuck Berry, Eddie and Alex Van Halen, Jimmy Page, Carlos Santana, Ozzy Osbourne, Iron Maiden, The Ramones and countless
“There’s AC/DC, Black Sabbath, all those bands, and now we’ll be joining them. To us, it’s like ‘Welcome to the family.’ It’s as if we’ve finally been accepted after all these years.”

– Jonathan Davis, Korn frontman

On Tuesday, Bakersfield rock band Korn will be added to RockWalk’s collection of handprints, an overdue honor coinciding with the release of the group’s 11th studio album, “The Paradigm Shift.”

“Oh, man, it’s great,” said Korn vocalist Jonathan Davis, 42, during a phone call before the band’s tour stop in Detroit. “There’s AC/DC, Black Sabbath, all those bands, and now we’ll be joining them. To us, it’s like ‘Welcome to the family.’ It’s as if we’ve finally been accepted after all these years.”

Induction into the RockWalk, founded in 1985, is no easy feat. Nominees are subject to a scrupulous voting process set by previous inductees: For musicians, by musicians.

“Korn is about as innovative and influential as they come,” said Dave Weiderman, chairman of Guitar Center’s RockWalk, in a media release. “They have been purveyors of metal’s progression since their formation, and are even credited with creating the nu metal subgenre. For these reasons, and many more, Korn is exactly the type of band the RockWalk is here to honor.”

Add that acknowledgment to the ever-growing list of career milestones for the band, which has maintained one of the most loyal fan bases among their heavy rock peers since debuting in 1993.

Successfully cross-pollinating the abrasiveness of heavy rock and punk with hip-hop and a devil-may-care attitude, Davis and bandmates James “Munky” Shaffer, Reggie “Fieldy” Arvizu, Brian “Head” Welch, and drummer Ray Luzier, who replaced original drummer David Silveria six years ago, have had a career most bands can only dream of achieving.

With two Grammy Awards, millions of records sold around the globe, sold-out headlining tours, and a dedication to breaking the mold with each project, the recent honor and new release have put Davis into a reflective mood.

“I mean, it’s one of those moments where you look back at working so hard and doing this for over 20 years. I think any band that survives 20 years together deserves an award,” said Davis.

There’s also the long-hoped-for return of Welch to the lineup after a seven-year absence.

“Head’s definitely back. The fans go crazy at our shows when they see us all together up there. I can’t describe how amazing that feels. Now it’s all about having fun. No one’s overly serious or troubled by the past. We’re at a really good place right now.”

“The Paradigm Shift” has fans’ ears searching for the return of Welch’s sound to complement the rhythmic bond of Shaffer and Arvizu. The album’s first single, “Never Never,” released in August, signals a more melodic turn for the quintet after the dubstep heaviness of their last outing.

“The combination of the electronic sound we brought on ‘The Path of Totality’ with the classic Korn sound is still at work,” Davis said. “Head working together with Munky has brought our past to the present. The fans have been waiting for this. I would say it’s one of the most important records we’ve done.”

Although Tuesday’s RockWalk ceremony in Hollywood is a private, invitation-only event, fans can have the opportunity to catch the band live at the Wiltern Theatre in Los Angeles on Oct. 10 and the Fresno County Fair on Oct. 11, just before they hit the road with ghoul rocker Rob Zombie.

But what about a homecoming show at that sweet spot just between Fresno and LA?

“I don’t ever look at the tour schedule too closely, but we’ll most likely be on the road for the next two years. We love our hometown and hope to come back soon,” said Davis.

We’ll hold you to it, fellas — again.

Show: Korn in NYC Photos & Video

KornNYC Live 9/27/13

As you know, Korn is playing tonight in NYC.  Below are pictures sent to us within the last hour.  Thanks to Andy C for getting these pictures to us so quick with a text to me that said “Kornrow this shit!”  DONE.

KornNYC Live 9/27/13Brian “Head” Welch, Jonathan Davis and Reginald “Fieldy” Arvizu perform in NYC tonight

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KornNYC2

Korn performs tonight in NYC 9/27/2013

Thanks for the videos Maestroknux

>Love & Meth

Prey For Me

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