Korn — Issues

A seventy-two second intro of layered percussion and ambient noise that delays the album's real start. Should have been cut or merged with the next track.

The album's strongest song and the one that justified the simplified approach. The descending bass riff locks with the drums into a groove that never shifts or develops but does not need to; the momentum is in the repetition. Davis moves from whispered verses to a shouted bridge and back without the dynamic feeling forced, and the melody in the chorus is the catchiest thing the band had written to that point. O'Brien's production makes every element hit clearly: the guitar tone is sharp, the bass distortion stays articulate, and the drums punch without clutter. The song went to number one on MTV's Total Request Live multiple times and earned it; this is Korn at their most controlled and hooky, and the structure is simple enough that the band could play it in their sleep. It set the template for the rest of the album, which became a problem when applied to weaker material, but here the idea is fully realized.

A solid groove-driven track that uses the same bass-and-chug formula as the opener but with less melodic payoff. Davis's vocal stays in the mid-range shout for most of the song, and the bridge adds a tempo shift but no real development. The riff works in the moment, but the song does not stick after it ends.

Another interlude, this one barely breaking ninety seconds. Sounds like a drum and bass sketch that should have been developed or discarded.

One of the heavier tracks, with Fieldy's bass hitting harder in the verses and Davis leaning into the aggression. The chorus pulls back into melody, and the contrast works where it felt forced on earlier albums. The song builds to a breakdown that earns its space, and the production gives the low-end enough room to hit without mud. Not a single, but one of the stronger deep cuts.

The second single and the second great song on the album, though it follows the same structure as the first. The riff is simpler, just a repeating two-note chug that lets the bass and drums carry the groove, and Davis sings more than shouts. The vocal melody in the chorus is direct and catchy, and the bridge shifts into a half-time breakdown that gives the song a second gear. O'Brien's mix keeps the clarity even when the guitars drop out, and the bass tone remains sharp instead of distorted into mush. The song works because it knows what it is: a three-chord groove with a strong hook, and it does not try to be more. It went to number fourteen on the Bubbling Under Hot 100 and number nine on the Mainstream Rock chart, and it holds up better than most of the album because it does not overstay or overcomplicate.

Ninety seconds of near-instrumental buildup that leads nowhere. Filler.

A slower, more deliberate groove that gives Davis space to work in the lower register. The verses are restrained, almost whispered, and the chorus pushes into melody without shouting. The song takes its time and mostly earns the patience, though the riff does not develop and the bridge feels tacked on. Solid but not essential.

A one-minute fragment with no structure and no purpose. Cut it.

One of the more direct songs, with Davis addressing trauma in the verses and pushing into the scream-whisper dynamic in the chorus. The riff is heavier than most of the mid-album tracks, and the rhythm section locks the groove tight. The bridge shifts tempo and gives the song a moment of tension, but the payoff is weak. The song works in sequence but does not demand repeat listens.

The third single and the most melodic song on the album. Davis sings the entire verse in his mid-range without shouting, and the chorus is built around an actual vocal hook instead of rhythm and dynamics. The guitars stay restrained, letting the bass carry the low end, and the production keeps the clarity even in the quieter sections. The song went to number eight on the Mainstream Rock chart, and it is easy to hear why: it is the most accessible track, the one that could work on rock radio without scaring programmers. The bridge adds a temporary heaviness, but the song pulls back into melody for the final chorus. Not heavy, but effective as a changeup.

A mid-tempo track that recycles the bass-and-chug formula with no new ideas. The riff is functional, the vocal melody is flat, and the song drags without development. By this point in the album the template has worn thin, and this track makes that clear.

Despite the title, this is one of the slower and less energetic songs in the second half. The groove is there, but the riff does not go anywhere, and Davis's vocal stays in one register for most of the runtime. The chorus tries to shift into melody but lands on a weak hook. Filler disguised as a full song.

Another sub-two-minute sketch, this one with Davis singing over minimal accompaniment. Sounds like a demo.

A return to the heavier groove, with a riff that recalls "Trash" and a vocal that leans into the shout. The song has energy, but it is repeating ideas from earlier in the album, and the structure is predictable. The bridge adds a tempo shift, but the payoff is flat. Decent in isolation, but redundant in context.

A seven-minute closer that ends the album on a shrug. The actual song is solid: a slower, more atmospheric groove with Davis working in the lower register, and a riff that builds tension without resolving it. The problem is the final three minutes, which are near-silence and ambient noise. It reads as a conceptual choice, but in practice it makes the album unlistenable on repeat. The song should have ended at four minutes, and the silence should have been cut. As is, it asks the listener to sit through dead air to reach the end, and few will bother.