Black Labyrinth Jonathan Davis Artist

In 2007, following the release of {|Korn|}'s untitled eighth album, frontman {|Jonathan Davis|} ventured outside the band to take his tentative first steps as a solo artist. Along with {|the SFA|} (Simply Fucking Amazings), {|Davis|} embarked on a to... Read more

In 2007, following the release of {|Korn|}'s untitled eighth album, frontman {|Jonathan Davis|} ventured outside the band to take his tentative first steps as a solo artist. Along with {|the SFA|} (Simply Fucking Amazings), {|Davis|} embarked on a tour that resulted in a pair of live recordings, which comprised mostly {|Korn|} covers and {|Davis|}' soundtrack compositions. A decade and four {|Korn|} albums later, {|Davis|} finally delivered on the initial promise of that solo outing with his official debut, {|Black Labyrinth|}. Resurrecting early {|SFA|} songs like Final Days, Happiness, Basic Needs, Medicate, and Gender, {|Davis|} and original {|SFA|} players -- {|Miles Mosley|} (bass), {|Zac Baird|} (keyboards), {|Shenkar|} (violin/vocals), and {|Korn|} drummer {|Ray Luzier|} -- join guests like {|Wes Borland|} (guitar) and songwriters {|Lauren Christy|} and {|Gary Clark|}, creating a palpable collaborative energy that results in a fresh enough perspective to distance this project from {|Korn|}. Of course, with {|Davis|}' unmistakable voice and dramatic lyrics, comparisons may come easy, as if the songs from {|Black Labyrinth|} were rare B-side oddities from scrapped {|Korn|} sessions. However, after hearing the tablas, duduk, and sitar that pop up throughout the album, listeners will recognize that {|Davis|} is attempting something spawned from his own realm. Journeying into that titular maze where his darkest thoughts and predilections lurk, the only thing scary about {|Black Labyrinth|} is that it abandons the lurching and muscular creep of {|Korn|} in favor of catchy pop hooks and instrumental surprises, and dabbles in post-punk, new wave, and world music. Kicking off with unexpected brightness, Underneath My Skin breezes forth on a propulsive new wave groove as {|Davis|} fights against the decay and rot within. Just as quickly, the riffs fall away to reveal {|Djivar Gasparyan|}'s floating duduk melody on Final Days. It's bold and weird, but utterly hypnotic. Elsewhere, {|Mike Dillon|} employs a tabla on Basic Needs and Gender, the latter of which also features {|Davis|} on the sitar. Of the more familiar moments, Everyone and Happiness ride straightforward riffs that are buffered by apocalyptic production, while Walk on By churns with squiggly funk bass noodling. Additional highlights include the addictive Your God and the cavernously creepy Medicate, both of which sound like {|Davis|} fronting late-era {|Nine Inch Nails|}. The one misstep on this otherwise engaging surprise is the deranged serial killer fantasy Gender, which was allegedly inspired by Silence of the Lambs madman Buffalo Bill. As {|Davis|} sings Can I wear your skin?/Can I have it now? over those tablas and sitar, his love of horror and the grotesque still can't save this song from being uncomfortable and unpleasant. Gender aside, {|Black Labyrinth|} remains oddly delightful for those who, like {|Davis|}, have matured beyond Freak on a Leash and engage in music outside of the nu-metal genre. Tapping into the un-{|Korn|}, {|Davis|} flexes his creativity with this often indulgent but nonetheless interesting exercise. Emotionally effective but quite different from anything he's done prior, it's an endearing, rewarding peek into {|Davis|}' interests outside of his day job. ~ Neil Z. Yeung Less