The easy thing to do here would be to try to redeem Nu-Metal.
To try and convince myself and then you, dear reader, that, I don’t know, System of a Down’s albumToxicity sounds as good now that I’m thirty as it did when I was sixteen, when I’ve heard everything from Isis to Sunn 0))), Revenge and The Body since. Maybe to situate it within the long history of heavy music, finding in Mudvayne’s second album, The End of All Things to Come, the DNA of Metallica, Death, Black Sabbath, Alice fucking Cooper, Richard fucking goddam Wagner. Perhaps I’m going to tell you to ignore KoRn and Linking Park – the real genius of Nu Metal is in Nothingface, Chevelle, Dope, Guano Apes.
But look, Nu Metal really was a garbage fire. There are a handful of Deftones songs that are quite enjoyable and that really is it. Song for song, it loses out to drug-fucked Decline of Western Civilization Part 2: The Metal Yearshair rock, which, if nothing else, can be enjoyed ironically. Try playing Motley Crüe’s ‘Girls, Girls, Girls’ and Limp Bizkit’s ‘Nookie’ back to back in public and note the reaction.
However, there is a generation, and I’m a part of it, that found heavy music through Nu Metal and circled back to find the records we missed at the time: Acid Bath’s When The Kite String Pops or Sabbat’s Fetishism. The first band I saw live? KoRn. In fact, not even KoRn, but their support band P.O.D. Various bands may have been your way in: Marilyn Manson during a tween-goth phase, Slipknot if you were late to the party, Hed P.E if… well, nobody liked Hed P.E, but my point stands: in the late nineties and early two-thousands, if you were mostly white and male, if sports and girls weren’t an option for your ectomorphic frame, but you still had too much testosterone for Tori Amos, then you were probably into Nu Metal.