Old Slipknot or new Slipknot? And what counts as new Slipknot then? Well, I’ve had that discussion quite a lot lately. For me, it started with All Hope Is Gone (2008). I don’t mind their three first albums but I can’t seem to get into them. Not melodic enough. What I dig with Slipknot from 2008 and forward is the way they blend big, catchy melodies – sometimes even pop-laden – with darkness, aggression, heaviness and brutality. The mixture of screamy, growly vocals and clean-cut singing. To me, Slipknot of today is an unpredictable band and the fact that you never know what they’ll hit you with. The two albums that followed All Hope Is Gone has been to my satisfaction and my expectations on a new Slipknot album is always high.
Speaking of unpredictable, if I would choose one word to describe opener “Adderall”, that’s the word I’d use. It’s a slow-burner, laid-back yet on a good beat and a pulsating bass-line, it’s dark, mellow and melancholic and blends acoustic guitars, piano and electronica with a spacey atmosphere and smoother vocal-melodies and clean, mournful singing. It caught me off guard but I think it’s fantastic. The single “The Dying Song (Time To Sing)” a metal-slammer, aggressive and hard with guttural screams and ferocious riffing that comes on tough but it’s also a quite rhythmic piece but with melodies prominent and a chorus that’s even catchy. Very good.
“The Chapelton Rag” is an aggressive, gritty and edgy Slipknot onslaught, classic style. Blastbeats and ferocious riffage goes for the throat but the chorus takes a mellower approach with a catchy melody albeit still heavy and aggressive. It starts out a bit lighter but ends as a riot. Good stuff. The single “Yen” holds a slower pace, is quite held-back with an overlying darkness and an ominous outlook. It’s a moody, subtle and melodic number that holds some deranged vocal-melodies that are both captivating, embracing, ghostly and affable at the same time. It ends with rioting guitars and turntables going off the rails. I think it’s brilliant.
“Hivemind” opens with spooky, eerie and twsited intro before a slammin’ rhythm and some raw and brutal riffing kicks the tune off. It’s a grinding and raging number, a heavy and hard assault of the band’s earlier days where rage and insanity ruled. That said, the tune is carried by a strong main-melody and an edgy refrain that’s catchy but still punches you in the gut. Very good. “Warranty” is an aggressive and rough-edged rocker where the verses are fast, heavy and here to hurt you bad. A somewhat theatrical pre-chorus leads us into a ballsy and robust chorus that still grabs you by the balls in the shape of a distinct hook. Good one.
“Medicine For The Dead” brings on a dark and eerie intro and when it kicks off it’s in a slow and a bit down-beat tempo yet heavy with a haunting atmosphere. The verses are ballad-flirting with a waltz-like feel that comes off as a bit creepy before slaying riffs and some powerhouse rhythms take hold still on a slower note with firey vocal-lines bringing on uncomfortable hooks as the icing on the cake. Great stuff indeed. Heavy and dark, “Acidic” brings on almost psychedelic 60’s like melodies, slow and even mellow. It’s 90’s bluesy with prominent bass-lines and while it’s on the ballad side it’s still edgy with a rough outlook. It’s muscular yet pop-accessible but never mainstream. Good tune.
“Heirloom” sees Slipknot take a step back into old-school, classic Heavy Metal with chuggy riffage and punchy, rhythmic and groovy beat. It’s a fat, heavy and distinct metal-belter on a straight ahead path and an in-your-face live-feel. The distinct melodies and hooks, especially in the magnificently catchy chorus, almost goes into poppier, Arena Rock vibes. Hardcore fans might beg to differ here but I love this. I must admit I never saw a song like this coming. “H377” kicks away with some intense verses that holds rough and razor-sharp riffing on a heavy, stompy and fast, rapid rhythm. It’s aggressive and savage with Corey Taylor spitting out the words in full rage but at the same time it contains some crafty, highly melodic melodies and the gang-vocals in the chorus is splendid. Good stuff.
The powerful and ballsy “De Sade” has the band blending fierce, classic Metal with the aggression and frantic raw power of old Slipknot. It’s hard, fat and punchy but with a strong main-melody, prominent melodic hooks and a striking refrain that takes no prisoners. The song’s mood-swings and slight time-changes brings it on the threshold to prog-metal as well. Adventurous and damn good. The closing track is called “Finale”, a held-back and mellow number with a dark, haunting and ghostly ambience where the low-key vocals brings a saddening touch. It’s cinematic, dramatic and dreamy – as in nightmare. The orchestration and the choir gives it a bit of a symphonic vibe and after a while some edgy guitars comes in and so does a faster – but not fast – rhythm taking it to heavier place while never losing the dark yet accessible melodies. A terrific goodbye for now.
How hardcore Slipknot fans will take to this album with all its musical contrasts and unpredictable twists I really don’t know but for me this album holds the best of both worlds. The best of a few worlds actually. As a sucker for a killer hook and catchy melodies, I found Slipknot way too noisy and unstructured in their earlier years but all of those things are still a big part of the band, it’s just that now they throw in so much more which in turn makes their later records exciting. But no matter where they go musically, they’ll always stay heavy and the dark lunacy that lies in their DNA is always present. Melodic as hell at times? Sure but no cheese of sugary chart-pop will ever enter their world. This album is magnificent and their best since All Hope Is Gone.
8/10
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Tracklist:
1. Adderall
2. The Dying Song (Time To Sing)
3. The Chapeltown Rag
4. Yen
5. Hivemind
6. Warranty
7. Medicine For The Dead
8. Acidic
9. Heirloom
10. H377
11. De Sade
12. Finale
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