Duality is the album’s big hit, not to mention one of biggest metal anthems of the 21 st century. As a result, Vol.3 – The Subliminal Verses was an album that bulged with killer melodies, brilliant ideas and moments of perfect synchronicity between the band’s nine members. Astonishingly, this oppressive slow-motion tsunami of aural bile can be found on a chart-topping album.īy the time Slipknot reached their third album, they were hitting their stride as songwriters and were hellbent on experimenting as much as possible. Far more experimental and courageous than they are usually given credit for, the band ended their second album with this 15-minute journey into the depths of a hellish subconscious – both a warped tribute to their home state and a sustained assault on the senses that suggested that there was something rotten and wicked lurking within Slipknot’s creative spirit. But Iowa also boasted plenty of razor-sharp hooks and sublime shout-long sloganeering, exemplified by this, the album’s explosive opening track.Īt the other end of the sonic spectrum from their virulently infectious hits, Slipknot are also masters of a unique strain of twisted, hallucinatory sludge. At times, you can almost hear nine men battering chunks out of each other while they scream with thwarted rage. Not just the only UK and US No 1 album to feature death metal blastbeats, Iowa was also evidence of a band undergoing some kind of demented collective meltdown. Released in 2001, Slipknot’s second album, Iowa, somehow outstripped the rapacious intensity of its predecessor, taking the band into much darker and more threatening territory. Photograph: Gary Wolstenholme/Redferns via Getty Images 4 People=Shit That a band so self-evidently extreme can command such a huge mainstream audience, while seldom compromising on a creative level, says it all about why this band have been so loved for so long.Ĭorey Taylor … Donning the mask at Donington in 2013. Snooty critics may mock such a simple act of physical unity, but the old cliche about heavy music providing catharsis for both its creators and those who embrace its music and culture rings particularly true when it comes to Slipknot. When its final blur of rampaging aggression explodes, the audience jump to their feet and go righteously mental.
It has long been a tradition at Slipknot shows for the entire audience to be ordered, by amiable but commanding frontman Corey Taylor, to down during the middle of this song. And yes, there are few more peculiar singalong refrains than “You can’t see California without Marlon Brando’s eyes!” Lyrically, too, Slipknot went against the grain from the start, combining metal’s abrupt defiance with a strain of surrealism and dark poetry that indicated a deftly expressed intelligence that has since become a hallmark of the band’s music.
Eyeless is a case in point its jittery breakbeats and squalling sound effects bring extra layers of chaos and menace to the band’s runaway train momentum and fist-to-face ferocity. Slipknot’s sound has always hinged on the power and force of their riffs, but there is far more to their sound than mere metallic bombast.
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