Times have changed a lot since Slipknot (the boiler-suited, mask-wearing nonet) released Iowa in 2001. Other nu-metal (I fucking HATE that term) heavyweights like Limp Bizkit and Linkin Park have realised how truly talentless they are; no less than three different Slipknot side projects sprung up as the band explored their erm, softer sides, and various band members even admitted to feeling sick at the idea of reforming. It really looked like a lot of hormonal kids were going to have to find a new outlet for their adolescent anger. Butno. Those of you who were hoping that the heaviest band on the planet had fucked off are going to be very disappointed. Those of you who are looking for an album by a band who are really pushing their creative boundaries are going to be in for a treat. The curious among you may well find yourselves rewarded as well. If you trust my review, that is.
The undoubted masterstroke was parting ways with Ross Robinson and getting in the producers guru, Rick Rubin, to bring the record together. (I nearly broke my r key typing that sentence.) In the past, Rubins magic touch has rejuvenated everyone from Johnny Cash to Jay-Z, if anyone was going to sort out the mess that NINE MEN make when they play at the same time, it was going to be Rubin.
<*dv_0*> Unlike previous Slipknot albums Vol. 3 features proper songs, with vocals and guitar solos and stuff like that, as opposed to prolonged bouts of screaming and white noise. Christ, some of the choruses are almost sing-a-longs. Opening track Prelude 3.0 sets the tone nicely; starting off like the score to a John Carpenter flick before setting into an almost jazzy groove, all topped off with woozy piano noises and a darkly crooned vocal. It sounds like the sort of stuff that Faith No More used to knock out effortlessly, and coming from a huge FNM fan thats a big compliment. Dont get too comfy though, because this is still a Slipknot album. The Blister Exists and Three Nil are perfect examples of their sound; all furious guitars, pounding beats (theyve got two custom percussionists as well as a drummer) and screaming vocals. But it sounds a million times clearer than earlier stuff, and a million times tighter. First single Duality follows next and its simply stunning; all menacing verses and roller coaster-drop choruses, itll get under your skin like a bot-fly and would make a great ringtone (which seems to be the sign of a good single these days).
Like I said though, this seems to be the album where Slipknot grow a bit as a band. So you have the slight, accoustic-y musings of Circle (which morphs, via a sampled drum loop, into Welcome - a pretty fucking stunning transition) and Vermilion Pt. 2. The Nameless has even got HARMONIES on it. And while the sentiments behind the lyrics still concern themselves with alienation and despair, at least the singer actually sings occasionally, instead of screaming all the time and giving himself a sore throat. (I just checked, hes called number 8. Ysee, they all have numbers instead of names. Eww, imagine being number 2.)
Ill be honest, on your first listen youll probably hate Vol. 3 something rotten (I know at least three of my mates who would rather go to the gallows than listen to it). But give it time, because while this band is as loud and heavy as...say, Slayer, theyre as musically inventive as the Super Furry Animals. Crying out to be played several times and certainly not just for angst-ridden scrotes who hate their parents, this is an album that stays with you long after closer Danger - Keep Away fades out. Like the aural equivalent of being hit by a bus, only its the magic bus from that new Harry Potter film. Possibly the best metal record in the last twelve years.
|
