'With My Eyes Wide Open: Miracles and Mistakes on My Way Back to Korn' is due May 17 via Nelson Books. When asked to describe the theme of his forthcoming book, guitarist Brian “Head” Welch sums it up with one word -- 'restoration.' In the trailer for the new book, Welch walks around the ruins of a building littered with pictures of his daughter Jennea. His recent life has often been a struggle, but lately, it's been back on track. He states that his estrangement from Korn, business dealings that left him close to destitute, and most importantly, his relationship with his daughter Jennea have all been repaired. Welch admits that watching the trailer is a “tearjerker” for him. “When I think about it, my life was torn to pieces,” he tells Billboard. “On the outside, I had everything.

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Andrea Ruta & Paulie, Where is the Song!? Brian 'Head' Welch, Save Me From Myself, 2008. Manzanera & McKay, Crack the Whip, Relativity, 1988.

I was in Korn, and I was playing the big shows. I got divorced, but I had a healthy daughter.

I had a nice house, cars and on the outside, it was great. But I lost who I was, and after I got myself together, I was happy inside, but things on the outside didn’t look so well. I lost my house to foreclosure and went through so much.

But I didn’t run back to the drugs and alcohol. I stayed with my faith. I took my hits and kept going and got back to the place where I am now.

Seeing that trailer is a tearjerker because I’ve come so far and I’m really proud of where I am now, and it feels great.” With My Eyes Wide Open more or less picks up where his first book, 2007’s Save Me From Myself, left off. He’d left Korn after becoming a Christian and decided to focus on raising Jennea. But he soon came to find out it’s not easy to raise a teenage daughter as a single parent. “Seeing my daughter 13 and 14 years old talking like she was 17 or 18 online, I was like, ‘What’s going on? Where’d she learn that language?’” He says. “It freaked me out.

I think these kids are too free to do stuff. There’s all kinds of garbage they’re getting into, worse than when we were kids.” Ultimately, he finds out that she'd been self-mutilating.

Dealing with that, as well as a handful of bad business deals and lawsuits and the formation of his solo project,, are also tackled in the book. And then, of course, there’s his eventual return to Korn. Korn are working on their 12th studio album, which will be out later this year. Welch said “people are going to be surprised” with some of the partnerships the band has made. Part of that includes new management, as longtime managers Peter Katsis and Jeff Kwatinetz split last year. While details of their new business partners are scant, Welch did speak about the direction of the new album.

“Me and James [“Munky” Shaffer] wanted to go heavier on the record, because we’re the guitar players and Korn was a guitar-heavy band,” he says. “The last record that we did [2013’s The Paradigm Shift] was me coming back.

I saw them at a show, played one song with them, and a few weeks later, was in the studio with them writing new songs. We didn’t have any time to hang out. To live with everyone on the road and to function in the band, with the fans and business together for three years, we really connected and felt comfortable. So after three years, we went into this album, and we’re focusing on guitars and spending a lot of time on them. It sounds really good, and I think it’s going to end up a heavier record.” Also, Love and Death has a new song, “Lo Lamento,” which debuted last week along with the pre-order for the book.

If pre-ordered from, fans will get an instant free download of the track.

Every time we pause to look at the last however many years of music, things seem stranger and harder to pin down. Not the music itself, necessarily, but rather how it reaches us and finds its way into our lives. In 2010, Pitchfork had been regularly using Twitter for just over a year. Streaming music was around but was a minor concern. Smart phones weren't something you took for granted.

All of these changes and many more have altered how we experience music, but one thing is certain: great songs never stop coming. Five years on, to mark the half-decade, here are 200 of our staff's favorites. Tillman's creative proclivity (both as a one-time member of Fleet Foxes, and as a solo artist) over the past decade, it took a fake name for him to hit it big. 'Hollywood Forever Cemetery Sings' is a disarmingly catchy ballad hewn from decades of downcast Laurel Canyon rock and dressed up in the finest imitation-Parsons jacket a Sub Pop advance could buy; it views the world through the conflictory lenses of libido and loss, sobriety and drug binges. At its core, it's an elegy for a love tainted by the reaper's touch. 'Someone's gotta help me dig,' Tillman moans to his lady, but is he referring to his deceased relative or someone—or something—further into the void, just beyond his grasp? Heard next to the clattering backbeat, it's that very barfly philosophizing that makes this cut so lovable. Rap purists hate Migos.