Ross Robinson

Producer Ross Robinson Has Learned To Embrace Being Called “The Godfather Of Nü-Metal”


While it took decades, musician/producer Ross Robinson has learned to embrace his role in being a key architect in the nü-metal genre. Known for his cathartic and unorthodox production style, Robinson was responsible for the impassioned performances on some of the maligned genre’s initial breakout albums in the mid to late 90s.

While he produced Fear Factory‘s initially shelved “Concrete” album for his maiden voyage behind the boards in 1991, it was his work on Korn‘s 2x multi-platinum 1994 self-titled album that skyrocketed him to a new level of fame.

Production roles on Sepultura‘s landmark gold-certified 1996 album “Roots“, Limp Bizkit‘s 2x multi-platinum 1997 debut album “Three Dollar Bill, Y’all” and Soulfly‘s gold-certified 1998 debut album would follow. With a string of hits under his belt, Roadrunner Records gave him his own I Am Recordings imprint label, which led to him producing and releasing Slipknot‘s 2x multi-platinum self-titled ‘debut’ album and more.

Not every record he worked on in the late 90s was remembered fondly however, as Vanilla Ice‘s “Hard To Swallow” remains a cringey curiosity and Machine Head‘s divisive nü-metal turn “The Burning Red” is still a sticking point for some of the band’s fans.

By the early 2000s Robinson had already begun to concertedly distance himself from (and denounce) the genre he helped usher in, instead focusing on albums from Glassjaw, At The Drive-In, The Blood Brothers and more.

While he would ultimately work with Limp Bizkit again in 1995 on “The Unquestionable Truth (Part 1)” and Korn on 2010’s “Korn III: Remember Who You Are“, his production duties across the past two decades have been of a more diverse nature, tackling albums from The Cure, Dead Cross, Suicide Silence and Touché Amoré, among many others.

Speaking in a new interview with Metal Hammer, Robinson has revealed that he no longer denounces his fan-appointed title of being ‘the Godfather of Nü-Metal’, despite having spent a number of years trying to distance himself from it. He told the aforementioned publication.

“I was extremely resistant to it when they started doing it during the Glassjaw days. I didn’t wanna be lumped in with all of the followers and the scene of silliness that happened afterwards, and I had a problem with that. Now, I think it’s sweet. If people wanna call me that, good.”

Back in early 2016, Robinson took a shot at the bands that attempted to latch onto the pioneering outfits he worked with, tweeting:

“Hi bands, I don’t do bands that copy Korn. That style is a rotting corpse of my past – The original was super cool, that’s it. Done”

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