![]() ![]() The nu-metal scene of the late nineties/early noughties arguably birthed no act as seminal or incomparable as the masked, nine-member Iowa collective known as Slipknot. Reissued after far too long an absence, this beautiful new rendering finally allows for a timeless endeavour to be rediscovered in all of its violent glory rarely bridging the vast dichotomy between mainstream and extreme metal. The fact that frontman Corey Taylor has confessed that the 14-minute closing title-track was recorded while highly inebriated and cutting himself with a broken liquor bottle, should be all the background one could need when approaching this complex, unforgiving beast of an album. While the now iconic leads singles, 'My Plague' and 'Left Behind' remain embedded in the metal spectrum, deeper cuts such as the caustic 'People = Shit', nihilism rally of 'The Heretic Anthem' or the decrepit defeatism of 'Skin Ticket' offer the bleakest look into the band's psyche at their most temperamental of conditions. Refusing to pursue a more accessible route regardless of the ensuing momentum around them, the collective would lash out with an extremely severe batch of material that remains challenging even by today's standards. Named after their home state, 'Iowa', still remains an utterly frightening project, driven by addiction, depression, and encompassing negativity. Review: At the turn of the 21st century, Slipknot opted to take the newfound fame and success rewarded by their self-titled debut, and run it into the ground in, what has to be, one of the most intriguing examples of chaos and inner band turmoil lending to an integral work. ![]() There's still plenty of that on display, with the venomous ode to their fanbase, 'Pulse Of The Maggots', ringing true with its abrasive composition.įinally reissued alongside its predecessors, there's never been a more ideal time to finally lock down this seminal trilogy that would introduce, shock and cement Slipknot as legends of their own kind for decades to come. 2', offered entirely new insights into a group known for their brutal intensity and little else. Hearing frontman Corey Taylor let his guard down for gentle and hypnotic cuts like 'Circle' and 'Vermillion, Pt. Hindsight paints doubts in curious colours, as 'Vol 3: The Subliminal Verses' is now regarded as one of the nine's most expansive, dynamic, and universally acclaimed works.įrom the caustic anthem, 'Duality' to the surprisingly accessible 'Before I Forget', the collective managed the impressive feat of honing their craft to appeal to a wider audience while sacrificing little of the unbridled angst of their earlier projects. Review: After their monumental rise from mask-sporting weirdos to forefathers of a new generation of mainstream metal, many wondered how or if Slipknot would manage to top their blistering self-titled debut, and its malevolent follow-up, 'Iowa.' Possibly the most misunderstood entry in the collective canon, the project has garnered its own cult status in recent years, and also poignantly marks bassist Paul Grey's final effort with the group before his untimely passing in 2010. From the crushing breakdowns and visceral fury of 'Gematria (The Killing Name)', to the Stone Sour leaning, big melody hooks of 'Sulfur' and 'Dead Memories', all the way to arguably one of the strongest points of contention, the utterly vulnerable and melancholic 'Snuff', would reveal dimensions of the Iowa 9-piece some never thought possible. Review: The much anticipated follow up to 2003's, 'Vol 3: The Subliminal Verses', almost painted Slipknot into an uncertain corner, but once the now iconic 'Psychosocial' dropped, essentially all reservations were laid to rest.Ĭontinuing to stray further from the bile and limescale grit of their earlier work, 'All Hope Is Gone', took the melodic lessons of its predecessor, and expanded upon them with dynamic and controversial results. ![]()
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