SLIPKNOT
Nu Metal / Alternative Metal • United States

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Slipknot is a nine-piece alternative/nu metal band from Des Moines, Iowa (United States). Aside from their real names, members of the band are also referred to by numbers 0 through 8.(#0 Sid Wilson, #1 Joey Jordison, #2 Paul Gray, #3 Chris Fehn, #4 James Root, #5 Craig Jones, #6 Shawn Crahan, #7 Mick Thomson & #8 Corey Taylor)

Slipknot is known for its strange and often frightening image; the members wear matching uniform jumpsuits all of which have the UPC barcode 742617000027 printed on them (The barcode from their first album Mate, Feed , Kill, Repeat) and each has a unique mask which they are never seen without (on any official Slipknot material) until the interviews on their latest DVD - Voliminal: Inside the Nine, and partially on the music video for the song, Before I Forget. Each member has made a distinct change to their masks after
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Slipknot (EX)Slipknot (EX)
Roadrunner Records 2001
Audio CD$6.47
$2.47 (used)
IowaIowa
Explicit Lyrics
Roadrunner Records 2001
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Vol. 3: The Subliminal VersesVol. 3: The Subliminal Verses
Roadrunner Records 2004
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All Hope Is GoneAll Hope Is Gone
Roadrunner Records 2008
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Roadrunner Records 2014
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Antennas To Hell (2CD)(Special Edition)Antennas To Hell (2CD)(Special Edition)
Roadrunner Records 2012
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Roadrunner Records 2005
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Devil in IDevil in I
Single
Roadrunner Records 2014
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Wait & Bleed / Spit It OutWait & Bleed / Spit It Out
Single · Import
Roadrunner Int'l 2000
Audio CD$52.54
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SLIPKNOT Discography

SLIPKNOT albums / top albums

.. Album Cover 3.91 | 14 ratings
Mate. Feed. Kill. Repeat.
Nu Metal 1996
.. Album Cover 2.89 | 27 ratings
Slipknot
Nu Metal 1999
.. Album Cover 2.89 | 28 ratings
Iowa
Nu Metal 2001
.. Album Cover 3.04 | 25 ratings
Vol. 3: (The Subliminal Verses)
Nu Metal 2004
.. Album Cover 2.73 | 25 ratings
All Hope Is Gone
Alternative Metal 2008
.. Album Cover 2.64 | 5 ratings
.5: The Gray Chapter
Alternative Metal 2014

SLIPKNOT EPs & splits

SLIPKNOT live albums

.. Album Cover 4.50 | 5 ratings
Disasterpieces
Nu Metal 2002
.. Album Cover 2.08 | 6 ratings
9.0: Live
Nu Metal 2005
.. Album Cover 3.00 | 4 ratings
Voliminal: Inside the Nine
Nu Metal 2006

SLIPKNOT demos, promos, fans club and other releases (no bootlegs)

SLIPKNOT re-issues & compilations

SLIPKNOT singles (8)

.. Album Cover
2.00 | 1 ratings
Wait and Bleed
Nu Metal 1999
.. Album Cover
2.00 | 1 ratings
Spit It Out
Nu Metal 1999
.. Album Cover
2.00 | 1 ratings
Left Behind
Nu Metal 2001
.. Album Cover
0.00 | 0 ratings
My Plague (New Abuse mix)
Nu Metal 2002
.. Album Cover
2.50 | 1 ratings
Vermilion
Alternative Metal 2004
.. Album Cover
4.00 | 1 ratings
Duality
Nu Metal 2004
.. Album Cover
1.00 | 1 ratings
All Hope Is Gone
Nu Metal 2008
.. Album Cover
1.50 | 1 ratings
Psychosocial
Alternative Metal 2008

SLIPKNOT movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.50 | 1 ratings
Behind the Mask Unauthorized
Nu Metal 2002
.. Album Cover
4.70 | 3 ratings
Slipknot - Disasterpieces
Nu Metal 2002
.. Album Cover
0.50 | 1 ratings
Welcome to Our Neighborhood
Nu Metal 2003
.. Album Cover
0.50 | 1 ratings
Up to Our Necks
Nu Metal 2004
.. Album Cover
0.50 | 1 ratings
Maggots
Nu Metal 2006
.. Album Cover
1.50 | 2 ratings
Voliminal: Inside the Nine
Nu Metal 2006
.. Album Cover
4.80 | 3 ratings
(sic)nesses
Nu Metal 2010

SLIPKNOT Reviews

SLIPKNOT Iowa

Album · 2001 · Nu Metal
Cover art Buy this album from MMA partners
Vim Fuego
Nu-metal played fast is not death metal.

Many people, including a lot of critics who should know better, have been saying this album shows Slipknot's death and black metal influences and contains elements of both styles. This has been sacrilegiously compared to Slayer's landmark album "Reign In Blood". This has been called the direction of metal for the future.

Wrong. Wrong. Wrong.

It's just Korn on amphetamines. If this is death metal, then I'm Ronan Keating.

It's nu-metal played a bit faster than the average bunch of clown-trousered, dog-chained, whining, spike-haired wannabes. That means it has no substance, no feel, little musical skill, and is just downright dreadful. The "aggression" comes across as contrived and calculated.

The lyrics are inane, vapid, and braindead. "If you're 555/Then I'm 666". Truly insightful, I can, like, so relate to that, man, Slipknot feel my pain. And how clever is calling a song "People = Shit"! I'm gonna write it all over my school books, 'cos that's just what I feel! Enough sarcasm...

Musically, it's mush. The drumming is nothing spectacular, despite two extra percussionists. The riffs are recycled and bland, the bass is boring, and vocals are poorly executed. So the vocalist can scream and sing. Try it yourself- it's not difficult at all, and many do it much better. The addition of four extra musicians than the band needs adds nothing noticeable to the sound whatsoever.

This is nu-metal pabulum stuck in a blender. Sure, it's faster than normal nu-metal, but at the end of the day, it still tastes the same.

SLIPKNOT .5: The Gray Chapter

Album · 2014 · Alternative Metal
Cover art Buy this album from MMA partners
Necrotica
Out of any Slipknot record, .5: The Gray Chapter perhaps drew the most intrigue prior to its release date. Even the "maggots" who remained loyal through thick and thin were quite curious about how the album would sound, especially considering bassist Paul Gray's death and drummer Joey Jordison's departure. To their credit, Slipknot seemed legitimately serious about honoring their ex-bandmates' legacies, going as far as not letting the new session musicians use new masks for live shows just yet. But when longtime singer Corey Taylor said that .5 would sound like a cross between previous albums Iowa and Vol. 3: The Subliminal Verses, everything changed. The polarization between different camps of fans emerged, some liking the idea of a return to roots while others wanted the increased melody of later albums to stay prevalent. Well, .5 is now out... just in time for the band's huge festival Knotfest of course. What kind of musical journey are we in for? One that constantly tries to resurrect a brutally beaten horse.

About 90% of .5: The Gray Chapter sounds as if it's trying way too hard to recreate past glories, except with much blander riffs in the process. It's sad too, because opener "XIX" is a great way to introduce a genuinely creepy atmosphere to the album with its dark soundscapes and funeral-like tempo. Unfortunately, once Corey starts singing and spouting out high school-level lyricism, everything just crumbles. And just like that, the entire album soon crumbles into a pile of juvenile nu-metal angst amidst boring downtuned guitar riffs. A large chunk of the motifs here consist of a grand total of 4 notes: A, B-flat, B, and C, usually in some sort of uninspired succession. Songs like "Custer" and "Sarcastrophe" attempt to add some eerie guitar lines on top of the riffs to give some texture and melody, but often come off as flat and tired-sounding.

Also, this is what I mean by beating a horse: there's definitely much more of an emphasis on Iowa here than Vol. 3. While the melodic moments are always refreshing to hear in songs like "The One That Kills the Least" or "Killpop," the majority of .5 consists of ridiculously juvenile nu metal stupidity. If Slipknot were trying to resurrect their past, they could have done it in a more flattering or creative manner than playing a bunch of recycled and bland Iowa riffs. The Vol.3 moments sound quite lazily tied in to the experience as if they were an afterthought, and many of the weak Iowa-isms revolve around one thing in particular: those goddamn lyrics. The word "fuck" is used like candy in songs like "Custer," while "Lech" begins with an ever-tasteful line like "I know why Judas wept, motherfucker!" To be frank, the nu-metal angst of this album is what kills it. Not only does it feel forced, but it destroys years of attempted maturity in Slipknot's overall career. The progress made in the more somber and beautiful songs of All Hope is Gone or Vol. 3 feels like a waste when the worst aspects of Iowa and the self-titled are repeated ad nauseam.

Thankfully, there are two bright spots among this disaster: "The Devil & I" and "If Rain Is What You Want." Both songs are quite different, but show genuine effort and atmosphere at their best moments. The former is a melodic alternative metal song that channels All Hope is Gone's strongest offerings while the latter is a beautiful power ballad that masterfully combines brutality and melancholy. They really offer a glimpse of what the album could have been if Slipknot weren't so caught up with recreating their past and giving nostalgic listeners an incredibly boring nu-metal affair. On top of all this, Corey Taylor's vocals aren't nearly as strong as they were in their heyday, making the whole effort sound even more strained and forced. It's unfortunate that this is what 6 years have wrought, but I suppose it's time to wait for the next Slipknot record already.

(Originally published on Sputnikmusic)

SLIPKNOT Mate. Feed. Kill. Repeat.

Album · 1996 · Nu Metal
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Unitron
Slipknot-Mate. Feed. Kill. Repeat.

'Mate. Feed. Kill. Repeat.' is the debut studio album by alternative metal band Slipknot. When someone says 'Slipknot', you most likely will think of their self-titled album or 'Iowa' which saw them gain major success. This album sounds very different from any of the following releases, being much more experimental and having a wide variety of musical styles mixed in. This wide range of styles sometimes makes this one strange album.

The song 'Slipknot' opens up the album with droning guitar and mechanical sounds, with bass strums and on/off avant-garde drumming eventually coming in. After that intro, the heavy crunching riffs enter. Once original vocalist Anders Colsefini's guttural vocals come in, it starts to really remind me of Sepultura. His death growls and aggressive screams combine perfectly with the crushing guitar and Joey Jordison's great drumming. Colsefini also plays percussion, adding in tribal drumming that really gives it a unique touch. A short but sweet guitar solo comes in, before Colsefini gives an amazing raw growl performance giving some of the most menacing death growls I've ever heard. The song transitions into the beautiful acoustic guitar opening of 'Gently'. After the acoustics transition into heavy guitar, Colsefini briefly shows his cleaner vocals which are very menacing mixing in with the haunting bass. Soon, thrash riffs come in with pounding double bass and growls.

The third song 'Do Nothing/Bitchslap' is where this album gets weird, starting out with some really funky bass and crushing riffs before having a strange brief lounge/jazz interlude. Yup, this song is a weird combination of death/thrash metal, funk, and lounge. After that pattern repeats, it turns completely funk with crazy bass grooves and Les Claypool-esque vocals. After that oddity, the thrash riffs come back in with some really powerful drum work. 'Confessions' is another odd song, being a fully-blown funk/disco song. However, Colsefini keeps his guttural vocal tone for the most part, sounding strange with the music. After the awesome meandering eleven-minute epic of 'Killers are Quiet', we hear the experimental droning industrial sound of hidden track 'Dogfish Rising'. This hidden track reminds me a bit of something from Steven Wilson's side-project I.E.M.

Unlike the rest of Slipknot's discography 'MFKR' features original vocalist Anders Colsefini instead of Corey Taylor. Colsefini had a much rawer vocal style, mostly singing in death growls but also having some clean vocals. His clean vocals are raw as well though, being very menacing as heard briefly in 'Gently'. His guttural vocals remind me a lot of Max Cavalera of Sepultura, mostly in the opening song though. After leaving, he would form the death metal band Painface. The lyrics on this release are also very different from the following albums, taking a lot of inspiration from an card game the members played called 'Rage'. 'Do Nothing/Bitchslap' has lyrics about the government taking away our freedoms.

Overall, it would be interesting to hear where Slipknot would have went if Colsefini stayed lead vocalist in the band. Perhaps they would have continued with this experimental death/thrash style. This is one amazing avant-garde death/thrash metal album and I highly recommend it to anyone looking for something weird and unique.

Hope you found this review helpful.

Feel free to comment!

SLIPKNOT .5: The Gray Chapter

Album · 2014 · Alternative Metal
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Kingcrimsonprog
When I first heard and read about American Metal band Slipknot’s fifth major label full-length studio album, .5: The Gray Chapter, I was very skeptical. When I was a teenager, Slipknot were just breaking here in the UK and I got incredibly captivated by them. Every generation has that one band that just seems extra important, be it Maiden or Metallica or Pantera. The band you pay extra attention to, buy extra merch for, read extra articles about, pick up books about even when it seems unnecessary. That one band you just care way more about than everyone else. For me that band was Slipknot.

With the line-up changes - the replacement of unique drummer Joey Jordinson and the death of founding member and key songwriter Paul Gray with faceless un-named fill-ins who the band wouldn’t “count as real members,” - I felt a bit put-off. Would the band sound the same? Would the emotions result in an overly quiet ballad-filled record? Then the very not-to-my-tastes album artwork was unveiled and I felt even more put-off. That's what you want your new album to look like? Really? I then read the reports that the album's lyrics were all going to be about Paul, well, these circumstances collectively made me feel that this wasn’t going to be a tasteful affair. Coupled with all my obsessive reading about the band early in their career where they said that none of them would ever do drugs (which killed Paul and allegedly lead to Joey's departure) and that they would only release four albums (this being their fifth) and that if one of them ever died they’d quit because it was all about “the nine” and nothing else, well… even though I’m older and smart enough to know its unfair and unreasonable to hold someone to something they said, probably only in passing, over a decade ago, somehow I almost felt that the band were doing the wrong thing by carrying on. The wrong thing, done without taste? - Didn’t exactly fill me with confidence.

Furthermore; upon actually getting the album, on my first few listens, I felt that this release was a bit of a cynical copy of the past two albums all over again - musically, and even structurally up to a certain point. You’ve got the intro (“Prelude 3.0”/“.execute.”/“XIX”), then that’s followed by the heavy opener (“The Blister Exists”/“Gematria The Killing Name”/“Sarcastrophe”), then the second heavy track with a clean chorus (“Three Nill”/“Sulpher”/“AOV”), then the first phase of the record is capped-off by the catchy radio single (“Duality”/“Psychosocial”/“The Devil In I”). All albums have an adventurous, slightly progressive weird track that appears clean but isn’t actually all that commercial (“Vermillion”/“Gehenna”/“Killpop”) and a heavy track late in the record to almost justify the lighter moments and defend against sellout accusations (“Welcome”/“All Hope Is Gone”/“The Negative One”).

The more I listen to it though, that sort of falls apart, and this album doesn’t feel like its trying to redo the previous two records. It feels more like its trying to balance them within the overall discography, and blend them with the first two records. “The Devil In I” may have the chorus and catchiness of a radio single, but the verses are slow dark and creepy, more akin to “Skin Ticket” or “Gently” than they are to “Duality.” The way some of the riffs work towards the end of “Skeptic” and “Lech” feel closer to the mechanics of the riffery to “New Abortion,” “Metabolic” and “My Plague” than anything more recent. "The Negative One" has that same blunt ugliness that made "The Heretic Anthem," "(Sic)" and "Everything Ends" so good. “Custer” in particular feels like its trying to recapture some of the madcap energy of their debut, with vocal performances, screeching samples and keg-strikes that feel violent and wild. Even the sombre album closer, “If Rain Is What You Want” doesn’t feel like another ballad ala “Circle” or “Snuff” but rather, it feels like a menacing, creepy, atmospheric closer. Sonically, its nothing like “Iowa” of course, but it is somewhere close in spirit. Its actually quite a neat idea the band have gone for here… rather than just redoing the winning formula that allowed them to headline arenas at last, they’re taking what worked about both the more aggressive roots and the commercial but still good “headliner era” and mixing the two together, making all of it fit together more cohesively. I really respect that. Ok; so the stylistic shift worries are no-longer a problem, and I realize that complaining about the album artwork is petty, and consequently have gotten over it. So that’s no-longer a problem either.

The new drummer also does a reasonably good job of copying Joey’s unique, flappy and skittery sounding drum style that previously seemed inimitable. Its not an exact match, but it sounds “like Slipknot.” That’s a major worry gone right there. Heck, they don’t even try and hide the bass. The bass is still prominent. People made sure it wasn't too different, but not an exact copy. It works.

Just as I had read, the lyrics do certainly concentrate a bit on Paul and his death. Its full of lines like: “This song is for the dead,” “No one is bullet proof,” “Some of us are destined to be outlived,” “The world will never know another man as amazing as you” and “Life keeps taking things away” among others. At first, the chorus of “Skeptic” in particular made my nose wrinkle a bit, with its sweary sing-along tribute to the late Paul that felt needlessly cheesy and therefore a rather poor treatment for a fallen band-mate. Not so fast, nose! It really isn’t though. I don’t think the lyrics are anywhere near as cheesy as I feared. Listening to the intro track “XIX” on repeat, I came to the conclusion that the lyrics to this album are actually really heartfelt and honest, and do feel appropriate given how (Corey and Shawn in particular) the band do speak in real life. This feels like a very true-to-life, non-linear document of the confusion and contradictory emotions that grief and bereavement evokes in us, in real life. Thinking about it in this new light, the album has a depth and weight to it that is surprisingly impressive.

So; artwork nolonger a problem, line-up changes nolonger a problem, style nolonger a problem but rather an asset, lyrics nolonger a problem but rather an asset. My skepticism has melted away and all the barriers have been removed. I can enjoy this record without pointless mental baggage. Now, what about the most important (and ultimately the only important) question? “Are these songs any good?”

“Yes, very good!”

This album is full of catchy choruses, fun riffs, great dynamics, solos that don’t intrude upon the songs, memorable percussion all around, enough of the noisy electronics and DJ-scratches that you want from this band and best of all… conviction. This album is driven. It has a point to prove and is all the better for it. Anything that seems dumbed-down and mass-friendly is revealed to be darker, uglier, heavier and more complex than it first appears. Everything that could feel phoned-in instead feels intense. The album is full of hidden depths, interesting extras, and superb balance between fast and slow and light and heavy. Its not just a good album under the circumstances, or a good Slipknot album, it’s a good album period. Infinitely better than I cynically expected and a genuine “can’t put it down” type of exciting, that will rack up an enormous play-count in a short space of time.

Its hard not to feel excitement and satisfaction as the songs defiantly reclaim my waning interest in a band that used to be so massively definitive to my early music-listening years, and who played such a large part in the formation and shaping of my music-fandom. “The Negative One,” “AOV,” “Custer,” “Sarcastrophe” and “Lech” are cemented firmly in any future Slipknot playlist I’ll ever make, and it’d take a heck of a lot to get them out. Overall; It feels good to be able to say the new Slipknot album is fantastic.

SLIPKNOT Slipknot

Album · 1999 · Nu Metal
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Earendil
Slipknot's self-titled album was one of my most-listened to albums in 7th grade, and to this day, I enjoy revisiting it. I'm no nu-metal fan, but this band has enough of a raw edge to avoid sounding derivative and overly predictable. The band's percussion-driven sound and Corey Taylor's vocals are what make this a good metal album. The band has a drummer along with two custom percussionists that have a distinctive voice with their rolling, overlapping playing. As far as this type of music goes, Corey Taylor is one of the best vocalists around. He rages from energetic growl-yells to solid clean vocals back and forth, and he comes across as really passionate and genuinely pissed off. Slipknot's debut is my favorite nu-metal album, and many music fans will likely miss out on a nu-metal album done right.

Rating: 7/10

SLIPKNOT Movies Reviews

SLIPKNOT (sic)nesses

Movie · 2010 · Nu Metal
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Kingcrimsonprog
Most Slipknot fans won’t need very much convincing, a new live DVD has been released an you very probably plan t buy it, but for anyone on the fence about whether or not to get it, I highly recommend this package, on is own merits and not just out of blind dedication to the band.

‘(sic)nesses,’ is a pretty great package, documenting their 2009 headline performance at the UK’s Download Festival in front of 80,000 excited fans. Also included is a documentary (curiously on disc one, with the concert on disc 2) from Shaun ‘Clown,’ Crahan and all the music videos from the band’s ‘All Hope Is Gone,’ album cycle.

Performance wise, everything you expect to happen at a Slipknot concert is there, so don’t expect to be disappointed in that regard. One can expect to see people hanging off things, jumping off things and throwing things at regular intervals; in addition to a spinning in mid air drum kit, Different band members fretting the notes for the guitarists, different band members hitting a keg with a baseball bat, Clown and Criss’s strap-on marching drums during ‘The Blister Exists,’ and ‘Psycho Social,’ and of course Sid getting into the midst of everything, including the crowd whenever possible.

Without a doubt the entire concert is made on the strength of the crowds passionate reaction and that undefinable live energy that just makes the concert feel amazing. Seeing 80,000 plus people singing along to very heavy music is almost life affirming.

If you were dissapointed by the band’s live performances on their live album ‘9.0 Live,’ or the bonus live material from ‘Voliminal,’ specifically the mix, Corey’s vocals and the disjointed feeling caused from material being taken from various concerts and are unsure whether or not to buy ‘(sic)nesses,’ then I’d like to reassure you that it is of a much higher quality than the previously mentioned releases, the whole concert is much more impressive and intense, Corey’s vocal performance is noticeably stronger and the mix is a lot more suitable.

The audiovisual quality of the release is in absolutely no question, the tech crew behind it have done an absolutely sterling job recording, mixing, filming and editing it and the whole viewing experience is of as high a quality as you would expect from a band of Slipknot’s size, even considering that this was a festival performance which is where a lot of big bands release their weaker DVDs due to the reduced amount of control available. Put simply this DVD looks and sounds fantastic, better even than you’d expect.

The only negative things I have to say are mere nitpicking, such as a perceived shortage of material from the ‘Iowa,’ album and that the documentary is very much in the Shaun Crahan style (as seen on the main Voliminal film and the All Hope is Gone bonus DVD) which I don’t personally care for but of course, you could indeed love this style. These minor and circumstantial niggles do nothing to detract from the sheer quality of the release. It may sound cheesy, but ‘(sic)nesses,’ proves why people love Slipknot so much.

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