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It is definately a statement of power, prowess, and passion. This album is NOT for the faint of heart. If you like the classic Slipknot album or comparison albums that are screamy and hard (for me) to understand, you might not necessarily like it. My favorite songs off of this album are Sulphur, Dead Memories, and, especially, Snuff. The lyrics to Snuff mirror my most recent relationship (although I know that in the video, Corey is dressed like his ex walking around miserable.>.
They are following the same path as Korn except Korn had 5 good albums before becoming horrible. I loved the yelling and fast paced vocals.
They will really have to put in some effort to top this one. This album is by far the worst album Slipknot has come out with.
I usually enjoy listening to what the singer has to say as well but not when it comes to this band. Corey, along with the rest of the band, let the Stone Sour sound bleed into the songs which was a really bad idea seeing as how that band sucks too.
I'm a big fan of Slipknot and when I listen to them, I want to feel the energy of the music. They state how they wanted this album to be their heaviest to date but it is far from being heavy.
It only took Slipknot 4.
It is great to see these guys still kicking some @ss in the metal world. I was going to give this album 4 starts but the song 'Psychosocial' (my fav song from them ever) pushes this one over the top.
Great vocals, amazing percussion, quality guitar work. "Sulfur" is the best tune on the album, but "Vendetta," "Psychosocial," and "Dead Memories" are all excellent tracks.I've since went back and purchased the earlier Slipknot efforts. They're tight. I was a child of the 80s and loved Metallica, Megadeath, and even some "hair rock." I thought there was no good metal these days. I used to see kids with Slipknot T-shirts and I didn't think these guys would be this good. The way the switch tempo actually works, breaking up the song quite well and making it more "catchy" (I use that as a compliment).
I need some kind of rhythm to my metal, and if it's flat out speed metal with no variation, I don't enjoy it much.
Secondly, they are immensely creative and different.
All Hope Is Gone is clearly their best album.
After my friend pointed me to All Hope Is Gone, I realized I was wrong.First off all, these gentlemen have skills.
Although they're still good, some is a bit raw and some sounds too much like Korn.
Thirdly, they're perfectly heavy for me.
Parts are extremely hard ("Psychosocial"), but not too hard to give you a headache.
They've matured and grown in good ways.
I stand corrected and I'd recommend this album to any metal fan.
Indeed, if nothing else, everyone can at least agree that "Vol. Well, a good band would find it too easy to go the heavy-way and dig up only moderately challenging material from several years ago; and a good band would find it too predictable to just cash-in on the success of a recent release. A few good, blazing guitar solos crop up here, as well. Back on the bludgeoning side, "Vendetta" is highlighted by with an excellent, Kataklysm-style drum solo, and a deluge of mind-boggling drumming (including tons of thunderous and hyperfast blast beats), brutal riffs, blood-pumping tempos, and rabid vocals. Finally, back on familiar ground once gain, the title song is very ripping cut of almost pure thrash, and is backed by buzzsaw picking, a blazing solo, catchy DJ scratches, and precise drumming.True, some "maggots" probably won't be content with another new release unless it's, well, a re-issue of anything from the "Mate Feed Kill Repeat" (a 1996 EP) -- "Iowa" era.
(It only sold about half as many units, and met with a fairly mixed critical response). One can't help but wonder that if that really is the case, what will this final release sound like. In addition, the album opened many new doors by converting an unquantifiable number of non-fans, and shifting over a million copies in just one year's time. Intense, original, intricate, rewarding, well-rounded, enthralling (seriously, it's like the audio equivalent of roller coaster)., and positively brilliant, "All Hope Is Gone" is Slipknot's masterpiece. The result is a very unique and memorable contrast. In fact, they are truly firing-on-all-cylinders, and without question, have never sounded as strong as they do now.
Plus, this album just might grow on you and/or reveal something new with additional listens. On top of this, at the time, frontman Corey Taylor was actively trying to fight off alcoholism, and several of his peers were battling drug addiction. 3" acted as was the divider in a complete polarization of the group's fan base.And now, Slipknot again find themselves at a crossroads. But on the other hand, many listeners loved the new record, and couldn't get enough of it. Then, after spending a disappointingly long time to time to rest, soul-search, dabble with side-project (i.e. It is also noteworthy for offsetting dissonant music with wailing clean backing vocals, and to excellent effect.
For a band that is still relatively young, there sure is a lot of history behind the name Slipknot. And when considering this hiatus was even longer, it shouldn't be surprising to hear rumors galore about the band splitting-up any day now. (Much of this hour-long playing-time is living proof that Corey and the gang are still as mosh-pit-friendly as ever). Although not quite as epic in scope, "This Cold Black" is similarly commendable for its breadth and terrifically slow-burning tone. Plus, even the old-school-esque tunes do not sound dated because an inescapable sense of urgency and new life has been breathed into them.
devout followers) felt disgusted and even betrayed by the 2004 offering since it was not nearly as brutal as anything they had heard before. Sometimes it opts for a doomy sound with heavy, sludgy guitars, and sometimes it opts to lean more towards the industrial metal line. So, Slipknot decided to take an important hiatus. True, at first glance, "All Hope Is Gone" appears to continue down the path of the latter of the two, since it begins with some pretty heavy stuff and eventually segues into more docile territory. Which side of the fence will it be on -- go back the sheer heaviness of the early days, or continue down the newer material's more commercially accessible path. Yes, it is a predictable, token ballad, and the kind that is frequently heard on modern rock radio. "Dead Memories" is obviously the album's lead single, thanks to its use of galloping, dance-floor-ready beats, and ginormous, catchy choruses that are filled with soaring melodies, and heavenly harmonies.
Following a creepy intro composed of minimalistic noise, doomy atmospheres, and humming bass notes, it slowly but surely gains momentum over the next four-plus minutes, and ultimately snowballs into a pulsating attack of fiery, machine-gun riffing, pounding drums, and being capped off with couple of ripping solos.The strong, cast-iron guitar licks, impeccable trapkit battery, and lumbering, Meshuggah-inspired rhythms behind "Wherein Lies Continue" more or less pick up where its predecessor left off. The boys have heard all of the positive and negative feedback from last time, and they have once again taken a break away from music, management, and each other. "Sulfur" begins on a surprisingly slow, and dare-I-say-doomy note, with foreboding feedback and drum patterns, and some of turntablist Sid Wilson's fluid scratching. They have mastered the art of texture, mature songwriting, expansive vocals, and technical musicianship.
3 (The Subliminal Verses)" three years later. This Des Moines, Iowa-based eight-piece released a first full-length in 1999, and this very angsty and aggressive eponymous debut was soon successful (it would go on two become certified Double Platinum in the U.S. Some also think of it as being a somewhat phoned-in effort, with its almost blatant attempt at pop appeal with the inclusion of acoustic guitars, slower tempos, more tuneful vocals (including good cop/bad cop parts), less profanity, and even the occasional ballad (). Meanwhile, Taylor splits his time between ominous, spoken-word vocals, accomplished, upper-register singing, and nasty, blood-curdling growls, and some nice guitar melodies also help to make the arrangements even more dynamic (and they do so without sounding watered down).
It does not need any specific song-structure and is not a snug fit for any one genre, but at least the listener can always count on it retaining plenty of hummable groove and melodic hooks. (All of which are well-placed, too, and none of which will anybody ever see coming). The song is extreme enough to bring Morbid Angel to mind, but there are just enough solid melodies and groove-oriented breakdowns present to break up its samey-soundingness and make sure things never get too out-of-control. It is simultaneously comfortable and unpredictable, brutal and beautiful, complex and catchy, epic and always over-too-soon.".execute." kicks things off with a bunch of loud, static-y, cluttered-sounding white noise, and no, there isn't much more to this track (which becomes almost cacophonous by its end) than that, but it is the perfect lead-in to song number two. So, Slipknot do not do either one. Stone Sour, The Murderdolls, To My Surprise), and revamp/think of new ideas, they finally mounted a comeback with "Vol. Following that, "Butcher's Hook" features another deft and bouncy (if brief) drum intro, and visceral bellows not unlike Hatebreed's Jamey Jasta."Gehenma" is a highly intelligent and experimental piece with numerous unexpected peaks, valleys, twists, breaks, and tempo-changes. But the plan backfired because "Iowa" was not more successful than the debut -- in fact, it was substantially less.
The chorus is also killer, and comes in two parts: Open, sing-songy sections, and a nasty, visceral, hardcore-style shout-along. However, do not be mislead -- there is a whole lot more to this record than what one might initially think. But let's be honest here: This is improvement. Really emotional vocals, lyrics that won't soon be forgotten, smart, stop-start time signatures, diverse drum fills, and crunching bass lines abound here, too. and spawn two hit singles), so they quickly followed it up with an even more brutal affair in 2001. That doesn't mean it isn't a big standout track, though, quite possibly the highpoint of the album, and one of the best things in Slipknot's whole discography.
"Snuff" comes next, and many people may be quick to write this song off, but they would be foolish to do so. Things suddenly get kicked up a notch whenever booming power chords and Joey Jordison's slamming thrash beats enter the fray, but with verses that consist of somewhat restrained tempos and gnawing guitars, and choruses that are soaring and soulfully-sung, "Sulfur" manages to be equally fast, slow, heavy, and melodic.With definite industrial metal leanings, electronic undertones, and a rhythmic, stomping rhythm reminiscent of vintage Rammstein, "Psychosocial" is clearly the first curveball to be found here. "Gematria (The Killing Name)" is a brutal, blistering, and wholly engaging riff-fest filled with frothing intensity, excellent, inventive, razor-sharp thrash riffage, dizzying, jackhammer percussion, tight, punishing rhythms, great, deep grooves, huge breakdowns, and a good guitar solo duel.
Suffice it to say, it is a dark, dense, and Slayer-worthy death-tinged thrasher, and one heckuva opening punch. Unfortunately, many "maggots" (a.k.a. Absolutely nobody can call this band just bunch of guys dressed up in masks and red jumpsuits anymore.
See, the more it plays, the more it becomes apparent that more than a few delicious curveballs are wisely thrown into the mix. Thus, "AHOG" never sounds even remotely monotonous, half-baked, or like a plain rehash of past glories. This " gorgeous, ambient, sweet (though not sappy), and insanely infectious acoustic strummer is saturated with strong hooks, siren-like harmonies, very impressive singing, and poetic lyrics.
(All of which are reasons to hold out, uh, "hope" for the future, even amidst the aforementioned supposed break-up rumors).
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