After the exhausting Iowa tour and the subsequent splintering off into dreaded (although in this instance, particularly with Murderdolls, successful) solo projects, many had assumed that that Slipknot would messily dissolve like the Wicked Witch of the West. All credit to the Des Moines nine-piece, then, for rebounding with new, bloodier masks and a contender for their career best album.
Traditionally each of their records begins with some unpleasant electronic noise and mood-setting screaming. The first sign that things have matured a little is when opener "Prelude 3.0" reveals itself instead to be a dark piece of catchy electro-rock much in the vein of Nine Inch Nails. Granted, when the next track "The Blister Exists" kicks in things are rapidly restored to expected levels of sonic violence. Initially a virtual run-through of (sic) from their first album, the song fractures halfway through into massed drums beating out a military march, indicative of the fact that this is once again a group effort. Iowa’s manic death metal intensity was ultimately a little one-dimensional, leaving little room for subtlety or the electronics input of DJ Sid Wilson and samples man Craig. Both are apparently restored to full action here under the inclusive production of Rick Rubin, and much use is made of call and response vocals between lead vocalist Corey Taylor and – presumably – percussionist Shawn Crahan.
The real statement of difference comes with two tracks in particular, "Circle" and "Vermilion Pt 2", both of which are - don’t laugh - acoustic ballads (although the former climaxes with some hard hitting drums and the latter is a lovelorn lament of a killer for his victim). Really, they’re about as enjoyable as any rock ballad - ie not very - but it’s the boldness of the gesture that counts. After all, when you’ve built your whole career on violence and outrage, probably the most shocking thing left to do is to be nice.
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None of this, though, is to suggest that Slipknot are muscling in on Travis territory, as 90% of the record is viciously effective riff metal. But just as a warning against complacency, after the thuggishly chugging "The Virus Of Life" the album ends with some lovely electric piano, concluding their most rounded and listenable record.
Positively swaggering with confidence again, they have allowed themselves the space to add a little light and shade to what, in previous records, had been an overwhelmingly oppressive heaviness.
As Corey Taylor proclaims on Three Nil - “Chaos – it’s just the beginning”.
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