ALBUM REVIEW: Black Labyrinth – Jonathan Davis
As the tortured-soul frontman of twenty-five years for nu-metal icons KORN, it’s probably accurate to say that Jonathan Davis is one of modern metal’s most beloved figures. With twelve albums to his name in that band, the man who routinely bares his demons to the world in the name of metal has long held an enormous fanbase within our community, but now is, in 2018, finally branching off out on his own for a long-overdue solo record.
Despite having dabbled in lots of work outside of that band over the years, including creating the acclaimed all-star cast soundtrack for 2002 horror film Queen of the Damned, making multitudes of guest appearances for the likes of SEPULTURA, LIMP BIZKIT, XZIBIT, MOTIONLESS IN WHITE and SUICIDE SILENCE to name but a few, as well as performing both with his solo backing band The SFA and in the guise of his EDM alter-ego JDEVIL, it’s remarkable that Jonathan Davis had never released a true solo album, until now.
The very fact that acts like BAUHAUS, DEAD CAN DANCE, THE CURE and even ANDREW LLOYD WEBBER come up in Jonathan Davis’ list of influences on Black Labyrinth should be enough to indicate just how much of a departure from his day job the record is. Opener Underneath My Skin starts proceedings off with a chirpy-sounding guitar lick that sounds far cheerier than you’d expect from the man who once penned a song like Daddy from the first KORN record. It lasts merely a few moments though, before the man himself makes his appearance – crooning somewhat menacingly over a sudden fuzzed-up bassline before breaking out into the kind of proto-rap vocals he’s perhaps best known for in the songs’s verses and its understated, yet catchy chorus.
As time goes on, it becomes more and more evident that Black Labyrinth is about as far from a standard metal album as it could feasibly be too. Final Days coasts along on an oriental-flavoured percussive drum beat providing a bed for Davis’ understated seething rage, whilst Happiness dials up both the tempo and distortion into what almost sounds, instrumentally-speaking, like a Songs For The Deaf-era QUEENS OF THE STONE AGE track at several points. On the slower end of the spectrum once more, The Secret proves one of the more emotionally-effecting moments on Black Labyrinth by fusing a sparse electronic backing track with vocal delivery from Jonathan Davis that can simply be described as haunting. Everyone, meanwhile, is probably the closest the record comes to ‘standard metal’, but even this track hides a great chorus in amongst the downtuned riffing and choral stabs, as Davis gets to flex the harsher end of his vocal range to great effect.
If anything, there’s only one real misstep throughout Black Labyrinth that really throws things off for a moment. Basic Needs begins strongly enough with an immense distorted groove of a riff sitting alongside Jonathan Davis‘ trademark menacing vocals, but as time goes on it simply drags itself out far too long, with an Asian-influenced percussive breakdown midway through that, whilst undoubtedly impressive in concept, actually adds around a minute and a half of rather one-note ambience, and needlessly extends the track to an over six minute length that feels far too overindulgent.
Luckily, it’s nowhere near bad enough to derail the entire album, and Davis quickly picks things back up with an impressive second half that packs in everything from breezy swirling synthesised patterns (Medicate and Please Tell Me), to full-on sleazy electro-punk stomp (What You Believe), to a bewilderingly multifaceted mix of what sounds like Satanic Majesties-era ROLLING STONES by way of MARILYN MANSON-style vocals (Gender). It’s a real melting pot of styles, and the fact that so much of it seems to work so well is a real testament to both the vocal ability and sheer songwriting talent Jonathan Davis clearly possesses.
The real crown jewel of this latter-half run though, comes with Black Labyrinth’s closing number What It Is – a grandiose and sweepingly cinematic track that melds ballad-like piano and string arrangements with wall-of-sound guitars and an impassioned vocal performance from Davis that comfortably sits among some of his best in recent years. It’s the perfect way to cap of an ultimately intriguing record that, whilst just short of mind-blowing, provides an excellent alternative view into the world of one of metal’s most talented frontmen.
Whilst some may be put off by the somewhat eclectic nature of the record in terms of its constant stylistic shifts, both KORN obsessives and those who stick with it will undoubtedly find some gems within Black Labyrinth, and will undoubtedly be hoping for a future expansion on this kind of material from the man himself.
Rating: 7/10
Black Labyrinth is set for release on May 25th via Sumerian Records.
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