Composition
"Freak on a Leash" is four minutes and fifteen seconds long. The song uses dissonance, distortion, and various effects to bring the song "to life." David Lloyd from the University of Alberta said that the song was an example of a "nonsense-utterance" technique used by lead vocalist Jonathan Davis. Lloyd also noted that the song contained "fragments of English-language words," and said that they "can be perceived in the midst of Davis' gibberish". Lloyd later went on to say that "Davis is giving voice to his inner basic feelings which are trying to resist being shaped or conditioned by utterances of others."
Elias Pampalk said that the song was "rather aggressive" and said it was heavy metal/death metal. Pampalk proclaimed that "melodic elements do not play an important role in 'Freak on a Leash' and the specific loudness sensation is a rather complex pattern". There are reoccurring elements throughout "Freak on a Leash". The song contains vocals, guitars, bass and percussion. It expresses moods such as anger, drama, and sarcasm.
An acoustic rendition of the song was recorded with Jonathan Davis singing a duet with Amy Lee of Evanescence, at MTV studios in Times Square, New York City for Korn's acoustic set on December 9, 2006. A remixed version was made by a fan in San Jose CA and submitted to Live 105 radio station. The new mix pushed the song back to the top ten requested for another month after the original had fallen off. The artist, Nathan E, came to the station for an interview where it was revealed he was just 15 years old.
Read more about this topic: Freak On A Leash
Famous quotes containing the word composition:
“If I don’t write to empty my mind, I go mad. As to that regular, uninterrupted love of writing ... I do not understand it. I feel it as a torture, which I must get rid of, but never as a pleasure. On the contrary, I think composition a great pain.”
—George Gordon Noel Byron (1788–1824)
“Modern Western thought will pass into history and be incorporated in it, will have its influence and its place, just as our body will pass into the composition of grass, of sheep, of cutlets, and of men. We do not like that kind of immortality, but what is to be done about it?”
—Alexander Herzen (1812–1870)
“Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.”
—James Boswell (1740–1795)