“Save Me From Myself” – Head (DrivenMusic)

Korn’s former seven-stringer steps out on his own, with some interesting results

This album poses a bit of a quandry. On the one hand, there is a great deal to be happy and impressed by, but on the other hand, there are a couple of things that really irritate, thereby ruining one’s listening experience.

First off, let’s start with the good. Brian “Head” Welch is an excellent song-writer. The opening pair of songs, “L.O.V.E.” and “Flush” (heavier), are superb, as is “Home”, balancing the darker moments of Korn’s later catalogue with Head’s distinctive, husky, anguished  vocals – “dark, heavy, melodic, industrial menace” one might say. The choruses are great, and in many ways Head’s songs have the feel of how some Korn songs should have sounded, if they’d had a more conventional vocalist. Head’s distinctive guitar-tone rumbles throughout, showing considerable growth and that he continues to try new and interesting things, while still sticking with what he’s really very good at. There are even hints of older Coal Chamber on this disc (only better constructed and execute). There are equally a lot of interesting constructions (from choirs to synthesizers) and plenty of experimental instrumentation throughout the album, which creates a varied and surprising listen.

I don’t use the references to Korn lazily – Head was a major songwriter for that band, so there are understandable overlaps in style and substance. Given Head’s newfound Christianity, I was expecting an album that was nowhere near as dark and menacing as this one. In a way, this is a plus, as it allows him to explore a wider range of material and subjects (I am not one of those people who are automatically turned off a band because of their religious beliefs – I still hold Demon Hunter and Skillet among my favourite bands).

Now for the “bad”. I’m not sure if Head was aiming for a metal, latter-day Dark Side of the Moon, but Save Me From Myself is peppered with interludes and song-segues that pretty much ruin the flow of the album and irritate beyond compare. This, sadly, is the case between “L.O.V.E.” and “Flush”, where the sound of Head gagging is unnecessary, and the creepy-baby-crying at the beginning of “Loyalty”… well, it was just creepy, and annoying when it reemerges later in the track. This is a real shame, as the songs themselves are brilliant. Without these odd interludes, I would have rated this album much higher than I do.

An interesting new direction, with plenty of brilliance on display, but unless Head can reign himself in when it comes to “artistic flourishes”, then I can’t imagine many people will enjoy sitting through a whole album. Unless they are somewhat disturbed. Let me stress, though, that taken as individual songs, this is a great collection of songs.