Review Summary: Slipknot's latest studio effort showcases a remarkable amount of talent heretofore undiscovered on any previous albums. The cost? They don't sound quite like they did in '99, but is that really so bad?
One of the most infuriating things about the metal scene is the degree to which the members thereof abhorr change of any kind. A band becomes an overnight sensation, their style evolves and matures, and sure enough, their so called fans leave them out in the cold. Even established bands like Iron Maiden or Metallica changed up their styles a bit so as not to stagnate and devoted fans of over a decade simply dropped them and ran the other way as if these former metal icons mutated into plague rats with amplifiers.
Slipknot's latest studio album is right up in the same vein. They became the hits of the Nu-Metal scene with their self titled album back in 99, and even though Iowa came out to some mixed reviews, it resonated strongly with the majority of their pre-existing fanbase as (in general) it delivered more of the same head banging, moshable metal with visceral screams and an organized cacophany that only a metal band with 9 members can achieve. Vol. 3, however has seen some serious changes in what makes slipknot slipknot, and some of the maggots (note: for the non-slipknot proficient, I'm not dissing their fans, as I am an avid one, that is actually what we call ourselves) have not responded too kindly. Common complaints surrounding the album are that Slipknot has lost their edge, they're watering down their sound so that their music can become more mainstream, they've lost sight of their true fanbase, generally the usual run of complaints from any devoted fanbase as soon as it seems like a band they like might become *gasp* more accessible.
From the introductory track ("Prelude 3.0") it is very clear that something is amiss. Gone are the days of nonsensical chants of "the whole think I think is sick, the whole thing I think is ***" or simply random noises accompanied by more random screaming. In their place their is a somewhat eerie intro involving both electric and acoustic guitars and Corey singing in a manner probably more likened to the far less successful Stone Sour. The intro goes on for a good 2 and a half minutes and just as the angry maggot partaking of this album is about to eject the CD, seeing as how they paid for Slipknot and were obviously given something else, the second track kicks in. "The Blister Exists" begins very similarly to their other classic album starters with a kick your ass heavy riff vamping for a while while the rest of the band slowly builds up until everyone is ready to explode. But even after this explosion, there is something different about the sounds. It may take the listener some time to put their finger on it, but soon it is realized that the guitar parts are faster and more technical than they've ever been. Having a new producer on this album has really agreed with the Knot, as this album has allowed them to really showcase what they're made of, rather than simply restrict themselves to where they were 5 years before. The breakdown from the custom percussionists Shawn and Chris is also a highlight of the song and drives it along with the force of a steam engine.
From here the album follows a fairly similar course with the next track, "3 Nil," offering more of the same driving beats and extensive riffing, but brough up to the next level. What is also prevalent on these first two (actual) tracks is the more pronounced use of melody. The vocals all still have that Corey Taylor edge, but since Iowa, it has been softened and widened. You don't quite hear the spit flecking against the microphone anymore, but this doesn't detract from their overall power. The passion is still there, it has just transmutated to include melodic singing. "Duality" is the next track on the album, and it is probably the most divisive song amongst the maggot community. Some think that the lean in a lighter direction is a great expansion and further showcases that Slipknot isn't just screwing around and can accomplish whatever they set their minds to. The rest of the fanbase sees this as a sellout track that was meant as nothing more than a radio single. "Opium of the People" is, in my humble opinion, the most underrated song on the album. Mick and James really get a chance to show off their shredding abilities, the vocals are fast and furious, and the breakdowns are so intense that you can't help but headbang regardless of where you are or who you're with.
The next track, however, is where the album takes an incredibly drastic turn, rather than the minor digressions I've detailed above. "Circle" is an entirely accoustic song. Still very minor, providing that eerie Slipknot halloween night feel, but out of place. That isn't to say this is a bad song, it can be quite enjoyable when you're in the mood, but its position in the album simply doesn't feel right. Had this song been a bookend of sorts, it would have been much more effective, but as it stands, it halts the flow that the album has been building toward on the preceeding songs. Fortunately, any deficit in momentum is immediately made up by the next track, "Welcome", which features arguably the best solos on the album. "Pulse of the Maggots" is simply a great song for the fanbase that has stuck with them. A fist pumping, chanting, thrashing thank you letter, if you will. "Vermillion" is another track that is really out there as far as Slipknot goes. Heavy and Gloomy, but still very melodic (as opposed to their heavy/gloomy digressions on previous albums, that really just dragged because of a lack of feeling) and that is what keeps the song from falling on its face. Had they tried to make this track another "Gently" or "Skin Ticket", it would have wound up being entirely forgettable just like those two.
"Before I Forget" is much more riff oriented but easily the most hard rock as opposed to metal. Nothing incredibly special, just another good track on an ever growing list. "Vermillion (pt. 2)", however, shines in the sense that it succeeds where "Circle" failed, providing Slipknot with an accoustic song that, after such a buildup of heavy and exciting tracks, is something of a relief, but since it is based around a previous track on the album, it doesn't feel as out of place timing-wise as "Circle" did. The Nameless is a fantastic mash up of everything they've worked on on this album so far. Alternating between heavy and fast as hell verses, and soothing accoustic choruses, ending in a wall shattering rock crescendo, this track would have been a FANTASTIC note to go out on.
Unfortunately, Slipknot decided to keep two more tracks on the album: "The Virus of Life" and "Danger Keep Away", both so forgettable that I haven't felt the need to listen to them again since my initial purchase of this album when it came out almost 3 years ago. They simply have no real drive behind them, reminding me very much of the entirely unnecessary cut of "Iowa" (on the album of the same name) that simply dragged on too long and at too slow a pace.
Those tracks aside, however, Slipknot has delivered an album showing a fantastic evolution and uncovering talents that the majority of their fanbase didn't even know existed. The album may have alienated the ones that fear change the most, but honestly, for every fan lost at the initial release of this album, I'm sure the music here has the power to replace them with 2.
