Review Summary: Satisfied?
Ah symbolism. Gotta love it. It can help to distinguish facts and set them apart in a creative, if not always subtle, way. Observe Stone Sour’s self-titled. It’s no secret that this is vocalist Corey Taylor’s “other band” and there’s a huge debate on whether Slipknot or Stone Sour is better. Let’s move on though. Every Slipknot album cover is pervasively dark, but the self-titled of Stone Sour features light and dark. This, at least in my opinion, is what makes Stone Sour a much more dynamic band: they are able to sonically and lyrically dodge between demons and angels and bring us along for a heck of a ride.
Opener “Get Inside” probably sounds the most like a Slipknot b-side, but it still manages to stand out on its own as a pretty strong and again, more dynamic track. Corey’s raps drive the track’s flow and are ultimately much better than anything found on “I Am Hated” or “Liberate”, the screams are stronger, and both guitarists fluctuate back and forth with frenetic Drop B riffing and even some solos. The song ultimately doesn’t feel as “try-hard” as much of at-the-time contemporary Slipknot record Iowa and comes off as heavy without being cheesy and dark without being overbearing. “Orchids” actually allows the bass to breathe and drive much of the track, as well as Corey’s hauntingly melodic vocals, and this is another song that sounds much more developed than much of Slipknot’s early work. Speaking of bass lines, the pure menace injected into the intro of frenzied track “Blotter” is entirely credited to the bass line, and it just makes the listener feel nervous and excited for what’s to come. If this track doesn’t make the hairs on the back of your neck stand up, get your pulse checked. Corey screams, howls, sings, croons, and growls, all with a backdrop of pulsating guitar riffs, spastic pinch harmonics, and thrashing drums. “Tumult” finishes off the album quite well, sounding very similar to the spastic vibe of “Blotter” while keeping itself interesting with clever wordplay and a cool guitar riff.
Surprisingly, the album also works well at the slower moments, especially “Inhale”. Though it seems that the song was perfectly crafted for radio play with the catchy, snaking guitar riff and the predominantly melodic song structure, the screamed wracked bridge and heavier ending allow for a nice contrast. “Bother” is probably the most famous song off the record and is sometimes only credited to Corey Taylor, with him on guitar and vocals. And it’s honestly a great song. The riff is clean and probably tuned a few steps higher than the rest of the record, but still catchy, the string arrangement allows for the right amount of theatric drama, and Corey’s broken voice shines.
However, for all the shining, there’s so much filler on this album. There’s at least four easily forgettable songs, and the attempt at spoken word on outro “Omega” loses it’s effect after the second lesson. Parts of the album just feel so lazy and it’s sad because they’re all talented band members that shouldn’t make me feel as if they are wandering in the desert, searching desperately for an oasis of creativity. Lyrically, it’s extremely similar. Parts really shine, such as “Idle Hands”, “Orchids”, and “Cold Reader” but the repeated use of “motherf*cker” in “Get Inside” loses its force and bite after quite awhile. And this is coming from someone who likes swearing in music as long as it is well-placed.
It’s not a perfect album and it didn’t generate near as much hype as Iowa, but it deserves more attention than it gets, because there are some alt/nu-metal jams here. But again, seeing as the standouts really drive the record, maybe only get those this time around.
