All Hope Is Gone (All Hope Is Gone, 2008) Its lumbering build is so oppressively sombre without relying on any of the usual bleakness you’d associate with Slipknot, Corey’s ‘I don’t want to get back up, but I have to, so it might as well be today’ line encapsulating the heartache, grief and struggle they’d encountered during the record’s gestation.Ĥ1. This song is for the dead’ – before what appears to be the sound of bagpipes. Clown starts with a typically Clown asseveration – ‘ This song is not for the living. People gave Slipknot a lot of stick back in the day for relying on profanity and bouncy riffs, but this is nothing of the sort – this is nightmare fuel, especially when the whole band throw their weight into the finale.Įvery Slipknot album harbours an intro track, and The Gray Chapter’s is arguably the most morose of the lot.
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Skin Ticket is Corey’s most disturbing vocal take that’s an actual song (yeah, we’re not counting Iowa’s title track), his teeth audibly gritted during that haunting ‘Come see my cage, built in my grain’ refrain. To the passive ear, it’s straight-up nu metal, but it’s still packing enough percussion and spite-flecked vocals to give Spineshank a wedgie. Corey’s quasi-rapped delivery doesn’t quite hit the heights of Spit It Out, tying it firmly to the nineties, baggy jeans and wallet chains. Reworked from Interloper, a track from the band’s 1998 demo, Diluted is one of the self-titled album’s more charming efforts. Hearing Corey scream ‘I don’t wanna do this anymore, everything’s shit, everything’s been taken, forsaken’ atop that puerile percussion is The Shape’s clear apex, but the whole thing’s a sleeper. It’s been described by since-departed percussionist/knob nose Chris Fehn as one of the most physically demanding Slipknot ditties, and also harbours a line bearing Corey’s future nickname: ‘I am the great big mouth.’ Originally hidden after minutes of silence and, er, an excerpt of the band watching some poo porn at the end of their self-titled debut album (it was the 90s – shit was weird), Eeyore is two-and-a-half minutes of complete savagery. Say what you want about the line ‘The world will never know another man as amazing as you’ – this was clearly part of the band’s grieving process, and that middle-eight is heavy.
And it’s a song about the kind of person that Paul was, just his love for not only music in general, but for this band, and just how amazing a personality he was.” Skeptic, of course, is a loving tribute to bassist Paul Gray, who tragically passed on May 24, 2010. The band’s 2015 shows opened with the band ripping into this like a chainsaw through jelly, Corey’s defiant command of ‘Live long and die for me!’ echoing across arenas worldwide.Ĭorey said it best himself: “This is definitely about Paul, absolutely.
It’s going to come up a lot throughout this list, but Slipknot are so much more than a fancy dress nu metal band – Sarcastrophe kicks off The Gray Chapter with some Deicide-ish fretwork and blasting, anointing Jay as new sticksman following original drummer Joey Jordison’s departure a year prior. Sarcastrophe (.5: The Gray Chapter, 2014) Its sickly, death metal-heavy intro riff is liberally pinched from May 17: a song that lives on Slipknot’s primitive, Excerpts From Current Project demo from 1996. Slipknot’s second album, Iowa, pushed, pulverised and piddled on the envelope in all sorts of new ways, but New Abortion is very much a throwback. That’s a fact, and it rings through every shout, scream and swear-word uttered by lead vocalist Corey Taylor each slithering riff from Jim Root and Mick Thomson the liquid-slick rhythm section comprising Alessandro ‘V-Man’ Venturella on bass and Jay Weinberg on drums the respective keyboard samples and turntable trickery of Craig Jones and Sid Wilson and every abrasive, bastardly brutal keg hit and muffled bellow by custom percussionist and band founder, Shawn ‘Clown’ Crahan, with his bin-smashing accomplice, lovingly dubbed ‘Tortilla Man’ by fans, in tow.
They’re the heaviest, most extreme band to achieve major festival-headlining status. Since then, they’ve dialled up the extremity, focused more on clean singing, incorporated acoustic elements, experimented with vocal melodies – they’ve tried anything and everything within their wheelhouse, doggedly dragging it across the globe on an arena-touring level. They took elements of nu metal, death metal, hip hop, industrial and more to sculpt a percussive, monstrously catchy noise nobody could compete with. Their debut was a titanic leap from their everything-and-the-kitchen-sink demo album, Mate.
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