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24 of 26 people found the following review helpful:
5.0 out of 5 stars
Korn's heaviest and most creative disc to date, June 21, 2005
Is it possible for a C.D. to be over-hyped and underrated?
Following a three year break with no new material from Korn, "Untouchables" became one of the most highly anticipated releases of 2002. Plus, the band members couldn't keep their mouths shut about the new album, saying it was one of the best things they've ever done. But, after hearing Korn's fifth album, I still prefer their self-titled debut and "Follow the Leader" over this. So, "Untouchables" was a bit over-hyped, but it was also simultaneously underrated, because the general response to it was disappointment. Plus, even though it sold 700,000 copies in its first week of being on the shelves, "Untouchables" just barely managed to gain platinum certification. Many fans thought it sounded over-produced and was too "poppy." Why must a new sound always mean the band sold out?
I have a different word for this album: creative. Michael Beinhorn, a virtuoso producer, makes "Untouchables" have *gasp* a new sound. This C.D. sounds robust, and it sometimes seems like it was recorded in a ten pound drum. Korn have been criticized for making the same album again and again, so they change their sound for their fifth album, and what happens? Some people STILL criticize them. Another problem with this album is that it didn't translate well live. That's why Korn quickly followed up this album with 2003's "Take A Look in the Mirror."
And even though it has some big choruses, well thought-out songs, and even a soft song ("Alone I Break" is the closest thing to a ballad Korn have ever written; Jonathan Davis sings clearly and properly over a digitized beat and Blue Man Group-esque drums,) the majority of this album is very heavy. In addition to this album's production making it have a harder edge, "Untouchables" has heavier songwriting and a rhythm section which pounds harder and more profusely. Upon first time listening to the opening track, "Here to Stay" seems super heavy, especially for a Korn song. It begins with grinding guitars, which, for the first ten seconds, are only audible in one headphone. Then, after the song explodes with thunderous guitars and drums, Jonathan begins his heartfelt and tortured lyrics-lyrics which have become typical of him. This, the only song from this album that Korn would play on tour, is a personal favorite also because of the mosh-worthy bridge ("Bring it on down!") Next, an onslaught of extra crunchy guitars and almost death metal vocals (with an echo effect) make "Embrace" one of the heaviest songs Korn have ever written. Other highlights include the grinding, churning guitar noise on "Bottled Up Inside," the third and final single, "Thoughtless" (which features a guitar that could be a vacuum cleaner, making a "vroom" sound run through it), the vocal harmonizer on "Beat it Upright" (a song about an explicit sexual fantasy, involving the rumor that Jonathan was gay), and "Wake Up Hate" (another exciting, mosh-ready song which is speedy, bouncy and flows very well).
It may take some Korn fans a while to fully appreciate this album. Listeners should immediately notice the pounding rhythms and the hip-hop free vocals, but it may take most listeners a while to hear and absorb the subtle creativeness (such as the vocal synthesizer). Also, some fans might not think "Untouchables" sounds at all different from any of their past albums. This is clearly a Korn album; aside from no hip-hop stylings, all of the patented Korn ingredients are here (mainly downtuned guitar rumbles and pained poetry.) But if you listen to Korn's raw debut, then come back to this, you'll realize the two albums sound like completely different bands.
To conclude, "Untouchables" was a bit over-hyped (because it is not Korn's best album), but it was also underrated (because some fans were disappointed with it). This C.D. is a must buy for all Korn and nu-metal fans, and, even if you're not a Korn fan, I recommend you check it out (because these songs are, as aforementioned, heavier than most Korn tunes.) The truth is that this is Korn's heaviest and most creative disc to date, and it has my vote for the best hard rock and alt metal album of 2002.
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32 of 38 people found the following review helpful:
5.0 out of 5 stars
THE TRUTH ABOUT "UNTOUCHABLES", June 12, 2002
Its been nearly 3 long years since music's most compelling band has released an album. Many fans who thought "Issues" was a bit flat (which granted, it was) were eagerly anticipating KoRn's next release in the hopes that it would save "nu-metal" from the past 3 years of monotonous, imitator music put out by polised, radio friendly bands like Disturbed, Linkin Park, Puddle of Crap, etc. Well fans of real music, the day has arrived. "Untouchables" is here and it does not dissappoint. I, like thousands of others, downloaded this CD back in March, but I also made damn sure that I was one of the first in line to buy the CD midnight on June 11th. This is a great CD, as its the next logical progression from "Issues". If I were to compare it to any other KoRn album, it would probably be "Issues", only "Untouchables" has much more memorable riffs, choruses, and songs in general. "Issues" seemed thrown together and each song seemed to bleed into the next with no real focus. "Untouchables", however, is very well put together. Practically every song is memorable and KoRn pushes the boundaries of their sound on songs like "Hollow Life", which has a very serious/eerie vibe to it. Then you have songs like "Hating", which has an 80s electronica vibe to it with a very big, epic sound. "Wake Up Hate" has a major techno/rave sound while still remainng quite heavy. The great thing about this album is that it is innovative, and it makes the other wannabe bands in the scene look very unoriginal and stupid. Albums like this are what is needed to keep the scene legitimate and keep it evolving. Its a shame that bands like Coal Chamber, Nothingface, and Deftones, (just to name a few) don't get enough publicity because they're raw and cutting-edge, and bands like Drowning Pool & Limp Bizkit are all over media because they play catchy, pointless songs with a recycled KoRn sound. I hope "Untouchables" sells millions of copies, and I hope KoRn finally get the noteriety and respect they disserve. No, this album is not as good as their 1st (but what album is?) but it is still very very badass. Here's a brief rundown of the songs: 1)"Here To Stay" - 9/10 (1st single; picture a riot starting to this song) 2)"Make Believe" - 6/10 (only song I might call flat; very slow, spooky-core vibe to it) 3)"Blame" - 9/10 (very good song; possibly the best on the album) 4)"Hollow Life" - 9/10 (very origional and different; creepy, gothic feel to it; great singing) 5)"Bottled Up Inside" - 8/10 (great opening rhythm; heavy chugging guitars; awesome, slow jam session around the 2:27-2:52 mark) 6)"Thoughtlessness" - 9/10 (2nd single; very dynamic; Jonathon shouts angrily ocassionally, reminescent of the old days) 7)"Hating" - 9/10 (not a typical KoRn song, but I love it; great chorus; almost a ballad) 8)"One More Time" - 7/10 (gothic, loungy feel to it; okay song) 9)"Alone I Break" - 7/10 (no heavy parts in this song; very industrial; NIN vibe; cool singing though) 10)"Embrace" - 9/10 (very good song; good energy; could be heaviest song on the album) 11)"Beat It Upright" - 8/10 (wickedly heavy opening rhythm; very cool, very perverted song) 12)"Wake Up Hate" - 8/10 (heavy techno/industrial/rave song; hint of NIN at some parts) 13)"I'm Hiding" - 7/10 (starts out brutally heavy; song itself kind of drags, jon saves it with a great chorus) 14)"No One's There" - 6/10 (this song didn't make an impression on me; not bad, just a bit slow and monotonous) 15)"Here To Stay Remix" - 7/10 (not bad; you can understand the lyrics better; it'll get your head bobbing) Thanks for reading this. I hope this album made a similar impression on you as well. KoRn owns!!!
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9 of 9 people found the following review helpful:
4.0 out of 5 stars
The wild card in Korn's discography, December 3, 2005
It seems to me that this album's relative lack of commercial success can be attributed to confusion. "Confusion" is the term I think fits best when describing the general reaction of fans. Many people didn't quite know what to think when Untouchables came out. It was highly anticipated, if I recall, and it certainly wasn't what people expected. So as a result, this is one of the most divisive Korn albums - ask three people what they think of it. One will hate it and yell "sell out!" Another will love its progressive tendancies. Still a third won't know what to tell you. And probably won't listen to the album anymore. After all, nu metal fans aren't best known for their patience.
The album itself is a patchwork amalgamation of catchy pop-metal, industrial sludge, experimental creepiness, and trademark Korn aggro grooves. The production is slick and round and the songs aren't really reminiscent of any sound Korn has had in the past. It is creative and unique in Korn's catalogue. I'm sure many filler fans were disappointed that this wasn't Follow the Leader Part Two - but going backwards is a real quick way to end your career in music (as we are seeing with many a mediocre nu metal band that is slipping through the cracks now.) Most of all, this album took risks. Even when the risks don't work out, you have to give them credit for being bold and foreward-thinking. And, one thing that is important to point out, Jonathan's voice is incredible here - his time spent with a vocal coach payed off big time on Untouchables.
The best songs on this album are the songs that sound absolutely nothing like anything Korn has ever done. My favorite song on this album would probably have to be the ethereal, beautiful (yes I said "beautiful", at the risk of immasculating myself) "Hollow Life." This song proves that there is more than one way to be heavy, as it draws you in and sends creeping sensations down your spine. The grand synth chords and heartwrenching "melody" contrast with the the dissonant power chords chugging underneath, to frightening effect.
Hollow Life isn't the only song worth mentioning on this album; the slow disco "Here to Stay" is a great opener and single. It's not the deepest song Korn has written but it's fun, it's heavy, it grooves, it's catchy, and doesn't sound derivitive or cliche (like some other more recent Korn songs I could mention.) In fact, all of the singles off this album are great songs. "Thoughtless" raises the emotional bar about ten steps with a compelling and melodic chorus. As usual, Jon's lyrics aren't exactly timeless poetry, but they have the strange power to invoke your sympathy regardless. Then "Alone I Break"... well, it's a suicide song. And a really good one: these are some of the most honest, simple, least pretentious suicide lyrics I've ever seen. Which makes the song kind of scary, to be honest. The tune is haunting (and of course the video is bizzare, but strangely appropriate.)
Some other impressive non-single tracks include the meloncholy "Hating", the exceptionally heavy and misanthropic "Beat It Upright", and the worthy closing track, "No One's There." I've attempted to fit all of these songs on homeburned 'best-of' cd's and they represent the most promise for Korn's future with their sentimental melodies and intriguing sonic textures. "No One's There" is in fact probably my favorite song here behind "Hollow Life", as both songs take an uncharactaristic approach to Korn's familiar emotional intensity.
Even the so-called-'mediocre' tracks have their moments. The somewhat predictable aggro track "Bottled Up Inside" has some cool harmonies and riffs in the chorus. The groove of "One More Time" is deffinitly listenable, if not necessarily a highlight of the album. "I'm Hiding" is mostly lukewarm but has an amazing chorus.
The two most annoying songs for me would have to be the Static-X-ish moshing track "Embrace", and "Wake Up Hate" which sort of like Marilyn Manson-meets-Ministry-meets-... well, Korn. Even though I don't particularely like either of these two songs, I approve of the chances the band took in writing them. Wake Up Hate in particular resembles nothing else Korn has ever done or has done since. I don't think the industrial shoe fits on Korn's feet, but I would rather be disappointed with the chances the band took than the chances the band didn't take.
This may very well be the last great Korn record... but if that turns out to be true, it was a good way to go out. Despite it's shortcomings, I strongly recommend this album both for devote fans of the band and casual listeners... it stands as a monument to what Korn once was: a beacon of innovation and creativity in a mostly shallow and predictable genre of music.
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