Toby Wright (producer): It was the melody, the heaviness of it. Fresh and shit like that, old school hip-hop. I couldnвЂ™t even karaoke that - I wouldnвЂ™t know what to do. ThatвЂ™s how he has that rhythmic vocal going on. I was beatboxing because I love to beatbox.ДЇieldy: Jonathan was a DJ, then a drummer, then a singer. I did that on Life is Peachy when I did вЂњTwist,вЂќ that was really the heavy scat. Jonathan: Everybody made a bajillion memes about the вЂњmmbop da mmbob da nena.вЂќ ThatвЂ™s just purely heavy scatting, I just felt like some percussive shit. Right when that hit, we just knew that song was special. That almost made the whole song, what everybody waits for. What really took it over the top was when the middle part broke down, and then Jonathan came in and started doing that weird, almost-reggae beatboxing crazy scat voice.

I wish I had a better word for that - I know people hate that word, because itвЂ™s not like we trying to make some pop hit or something. And then, of course, thereвЂ™s that drop.ДЇieldy: When we did that song, definitely this going to be one of the hits. Davis was the perfect avatar for this, connecting with a mass audience by growling, mewling, and belting through lines that ran the spectrum from вЂњLifeвЂ™s gotta always be messing with me / CanвЂ™t it chill and let me be freeвЂќ to вЂњSometimes I cannot take this place / Sometimes itвЂ™s my life I can taste.вЂќ Midway through the song, language collapses, and he lets loose with what Charles Aaron referred to in 1999 as вЂњthe goonniest beatboxing since Police AcademyвЂќ - a moment that leaves listeners dumbfounded and hypnotized, which makes the song utterly convincing. NГј metal would become a space for men to confront their darkest moments with a confessional vulnerability set against an aggro rock-n-roll lashing out. From the high, slinky taunt of the opening guitar line over a bouncing drum beat, to the heavy, gnarled bridge towards the chorus, itвЂ™s structured like a pop song - almost. We play a lower-tuned seven-string guitar, so it was kind of like, 'Whoa, we can make the low end go even lower and the high end go up to fucking dog-ear shit.' Munky: A lot of that stuff we use now - the DigiTech and Whammy pedals - to get that DJ-sounding element in the guitar sounds. We wanted to make sure the guitar on the noises and the melody parts sound not so much like the guitar, but like samples, keyboards, or synths. Head: When me and Munky started doing that record, it was about, letвЂ™s just get guitar pedals out and just get crazy with it. I was into newer-school hip-hop, the guitar players were into rock music. Reginald 'Fieldy' Arvizu (bass): Everyone was into different. IвЂ™ve said it a billion times, but if it wasn't for Cypress Hill there would be no KoRn. With, we started to experiment with more hip-hop-inspired basslines mixed with rock guitar, making the guitar sound like samples. Jonathan: KoRn and Life is Peachy were similar. It felt like the creative doors got kicked down and we were able to try anything. Munky: We already knew we had a cult following, and there was a future that we could shape on our own. It was me lashing out, because when started getting bigger after Life is Peachy and got a bigger budget, I watching it become more of a business - gotta do this, gotta do that. I know itвЂ™s stupid, but this is how I roll. I love singing and I love fucking making music and I donвЂ™t care about shit I donвЂ™t care about. You can ask anyone in my band, I hate the fucking music - I don't give a fuck. Looking back on it, вЂњSomething takes a part of meвЂќ was they were taking the fun of making music and making it a business. The label, management, publishers, everything that it involved. Jonathan: the music industry, entertainment in general - how the machine worked. James 'Munky' Shaffer (guitar): was one of the first tracks we wrote for that album. That would come to an end after that record. We were in the studio without any producer or leader, just us friends hanging out. We were still climbing up and doing theaters, touring with bands like Deftones and opening for bigger bands like Megadeth, Ozzy and all them. We were all like one - no issues with band members or anything. It was nothing special, just us with the music.Д«rian 'Head' Welch (guitar): We were in a good headspace. Jonathan Davis (lead vocals): We were writing by ourselves in a little studio - just a room with a PA.

Korn began writing Follow the Leader in a small Redondo Beach rehearsal studio, experimenting with different ways to bring together their different influences: Pantera, Biohazard, Helmet, Portishead, Far, and Praxis, with early Outkast, Faith No More, and 80вЂ™s new wave thrown in-and, of course, a ton of hip-hop.

Korn unplugged freak on a leash