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From self-titled (“Korn” 1994) to untitled (“Untitled” 2007), Korn has come undone, only to re-assemble with a new twisted transistor.

“The Path of Totality,” Korn’s latest release, dips a toe into the enticing world of dubstep. The album mixes Korn’s primary hard-rock sound with beats from prominent dubstep and electro artists such as Skrillex, Kill the Noise and Noisia.

While it is a courageous step into an entirely new direction, there were a few marks missed.

In tracks such as “Illuminati” (feat. Excision and Downlink) and “Sanctuary” (feat. Downlink) the combination of sound is lost in an unexciting blend of noise. The “drop-the-bass” moment most listeners look forward to is one element that is not included. The build-up is often ineffective and without climax, there is no triumph, no orgasm and certainly no satisfaction.

“My Wall” (feat. Excision) is a perfect example; the first 20 seconds are alluring and should pave the way for a fierce beat with harsh, face-melting sounds and lyrics. Instead, the rhythm fades and lead singer Jonathan Davis rambles about something “sacred” and putting a wall up, only to be torn down. Dubstep or not, one problem I often encounter when listening to Korn is the “corniness” of their lyrics — no pun intended. If you’re one of those die-hard fans that cringe at the sign of change, this album is not for you. Let’s face it, this album is not for most. I put three songs on my iPod and forgot about the rest.

One might begin to wonder if there is an up-side to the album. One word: Skrillex. Sonny Moore (Skrillex) does not disappoint, and two of the three best tracks from the CD feature him. My personal favorite “Get Up!” (feat. Skrillex) begins with a beat that spins and bounces into the depths of a pounding refrain. The break-down in each chorus makes up for a lack of “drop-the-bass” moments previously mentioned.

Jonathan Davis’ hypnotizing vocals harmonize with the melody of Moore’s bipolar beat. The chaotic interlude about three-fourths of the way into the song suggests no remedy for the sickness.

The music shatters around the frequently occurring phrase “shut up” to make for a unique and enthralling sound.

The albums single, “Narcissistic Cannibal” (feat. Skrillex and Kill the Noise) comes in at No. 2. Though the lyrics are cliché at times, the song as a whole is a good outlet for an angry listener with a demand for intensity.

The high energy nature of the single demonstrates a striking potential for the unity of the two genres. Imagine a dubstep mosh pit. It could be the rave all of us rock fans have been waiting for.

The album comes to an end with “Bleeding Out” (feat. Feed Me), and Korn couldn’t have concluded it better. As the lengthy intro sets the mood for an emotional set of lyrics, you can almost feel the hums, drums, and zips that flow along the electric beat and yield a reflective journey. “Bleeding Out” is the most successful in accomplishing a fuse between the heavy metal and electronic feel.

Despite my unforgiving critique, the album is not a total failure. Applause needs to be given for the new idea, the execution however, could have been better. My advice: Stick with the three songs given praise, find some new DJs and try again! I wouldn’t turn down the chance to hear a similar attempt by Korn and I’m eager to see the expansion of this new genre. Who else might wonder in the same direction of such a new and exciting synthesis of sounds?