In Revolver‘s new 100th issue they list their picks for the top 20 albums of 2011 and they have awarded the prestigious number one spot to none other than KOí¿N’s 10th studio full-length, The Path of Totality! You can read Editor in Chief Brandon Geist’s write-up about the record in the magazine and if you head on over to Revolver’s website, you can read an interview with KOí¿N frontman Jonathan Davis about the album, including what led him to want to create an electronic-infused album and his link to the Illuminati on Revolver’s website.
REVOLVER How does it feel to have The Path of Totality namedRevolver‘s Album of the Year?
JONATHAN DAVIS I’ve got chills right now. Man, that’s fucking awesome. Thank you. You have an open mind. The album is getting people to have an open mind and just accept that this is the future–accept the change. And once they do that, after we do our shows, ’cause we play a full set–we split our set up into three different sets, then we do a full set of the new record, we do five songs of the new stuff–and during that time they’re kind of like, What’s going on? But by the end of it, the last song, the whole place is going crazy. I’ve gotta take it to the people and they’ve gotta see it with their own eyes, or hear the record, and then they’re gonna be like, What the fuck?!
Are you surprised to receive this honor for an electronic album?
Yeah. It is fucking crazy, but it’s still rock. I executive produced it—that’s what they called it—and my whole job was to keep the integrity of both sides of the music intact and finding that balance. It’s still a Korn record–you can’t deny it’s a Korn record–but there’s those subtle, and sometimes there’s a lot of the dubstep influence, and drum and bass. It’s not that we were going for a dubstep record, there’s all styles of electronic music on this. There’s dubstep, drum and bass, electro, it’s all kinds of different kinds of music. My job was to fit the pieces in and arrange them into song form and then figure out how the fuck I was gonna sing over them and all that stuff. It’s a rock record, but it’s got electronic influences.
How did the process work of making the album, between you, the band, and the producers?
The only two people we didn’t work with in the room was Noisia and Feed Me, ’cause they were in Europe. Basically what went down is we’d get in a room together and the producers would just lay down a skeleton of beats and some wobbles, here and there. And then it’d go to Munky [guitar], Munk would do some guitar stuff on it and then it’d go back to them and their producers. We’re working in digital and in analog at the same time. We had, like, a crazy, mad-scientist thing going on. So we were kind of filing back and forth doing all this stuff. It was really…that’s how you collaborate, like you do with any band. But their instrument’s a computer.
You know, what’s so exciting about it is we didn’t know what the fuck we were doing. It felt good because we were just making music that we loved, open-hearted, not giving a fuck about what anybody thought. We just wanted to do something different and change rock again.
What’s your pick for Album of the Year?
Hyro Da Hero. That was really fucking good. So I’ll pick that one–Hyro Da Hero [Birth School Work Death]. That was really fucking good. It’s just so real and I love the way Hyro raps. It kind of reminds me of Rage Against the Machine, but different, with a band and the music. And it’s real, and this kid loves doing what he’s doing , ’cause I saw him in concert. And it’s real, it’s not made up.