Slipknot


(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Slipknot , 7/10
Iowa , 6.5/10
The Subliminal Verses (2004), 4/10
All Hope Is Gone (2008), 4/10
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Slipknot hail from Iowa and play what is fundamentally death-metal, but they do so with two novel ideas: they are a large ensemble, not the stereotypical quartet, and they wear horror costumes. Thus Slipknot (Roadrunner, 1999) leverages turntables, samples and percussions, not just guitars, to achieve maximum ferocity, in a manner that makes Slayer and Sepultura pale.
The music is excessive and furious, with frequent changes of pace, and a wealth of sonic detours. The grotesque panzer dance of Sic lets the vocalist scream his vulgar outrage over tribal drums and mad guitars. A similar farcical posture, conjuring images of a witches cancan, underlies Surfacing, while the turntables hark back to the industrial devastation of Cop Shoot Cop. The limping pace and the agonizing guitar riffs of Eyel E SS sound like a vaudeville sketch in hell. The epic rap of Spit It Out indulges in wild dynamics, for example repeating the refrain in two completely opposite tones, that demonstrate the difference with, say, Kid Rock. This style that straddles the line between tragic and comic reveals its desperate face in Liberate, not a song but an act of vomiting, and No Life, not a song but a schizophrenic duet between an evil and a wise selves.
In the middle of this uncontrolled havoc, the bands suddenly turns into Nirvana copycats with the relatively catchy refrain of Wait And Bleed, while Tattered And Torn is an avantgarde piece masquerading as a personal exorcism. And the album closes with the total chaos of Scissors (nine minute), a Freudian descent into a damned soul. There is enough variety to engage the listener in a re-examination of her metal stereotypes.

Iowa (Roadrunner, 2001) continued the onslaught of the first album with the frantic and bombastic People=Shit and the death-rockabilly fit of Disasterpiece, while My Plague and Left Behind and especially Gently (which is an instrumental piece, save the temper the fury with quite prominent melodic elements. animal-like groans of the vocalist) Their ferocious poetry culminates with the lengthy slow-motion psychodrama Iowa. Unfortunately, too many songs are just not musical enough, with the vocalist simply uttering his angry lyrics over a stereotyped post-death instrumental backdrop. In one or two cases that works to the advantage of the sense of drama (The Shape), but in most cases (even the lengthy Skin Ticket) it simply detracts from the show.

(Translation by/ Tradotto da Luca Battistini)

Gli Slipknot vengono dall'Iowa e suonano, fondamentalmente, death-metal, ma lo fanno con due idee originali: sono un ensemble esteso, non lo stereotipato quartetto, e indossano costumi horror. Cosi' Slipknot (Roadrunner, 1999) sfrutta turntables, samples e percussioni, non solo chitarre, per raggiungere il massimo della ferocia, in un modo che fa impallidire Slayer e Sepultura.
La musica e' eccessiva e furiosa, con frequenti cambi di ritmo e abbondanti diversioni soniche. La grottesca danza panzer di Sic lascia che il vocalist urli le sue violente ingiurie su percussioni tribali e chitarre furiose. Un andamento altrettanto grottesco, a evocare immagini di danze di streghe, e' alla base di Surfacing, mentre i piatti rimandano alla devastazione industrial dei Cop Shoot Cop. L'incedere zoppicante e i lancinanti riff di chitarra di Eyel E SS suonano come uno sketch di varieta' ambientato all'inferno. Il rap epico di Spit It Out indulge in dinamiche sregolate, ripetendo per esempio il refrain in due toni completamente opposti, il che dimostra la differenza con un (per dire) Kid Rock. Questo stile oscillante tra tragico e comico rivela il suo volto disperato in Liberate, non una canzone ma un "vomito", e No Life, non una canzone ma un duetto schizofrenico tra un ego malefico e uno saggio.
Nel mezzo di questo sconquasso incontrollato, il gruppo diviene improvvisamente plagiario dei Nirvana con il ritornello relativamente orecchiabile di Wait And Bleed, mentre Tattered And Torn e' un pezzo d'avanguardia mascherato da esorcismo personale. L'album si chiude con il caos totale di Scissors (nove minuti), una discesa freudiana in un'anima dannata. C'e' abbastanza varieta' da impegnare l'ascoltatore in un riesame degli stereotipi metal.

Iowa (Roadrunner, 2001) continua l'aggressione con People=Shit, Disaster Piece e New Abortion, mentre My Plague e Left Behind la temperano con forti elementi melodici.

Corey Taylor degli Slipknot ha un side project chiamato Stone Sour.

Corey Taylor of Slipknot has a side project called Stone Sour that release the solid Stone Sour (2002) and and Come Whatever May (2006).

Slipknot simplified their sound a lot for The Subliminal Verses (Roadrunner, 2004), indulging in the placid Circle and Vermilion Pt 2, and searching for pop hooks (Duality), while almost downplaying the fiery Before I Forget and Pulse Of The Maggots.

The "experimental" All Hope Is Gone (2008) sounded terribly old-fashioned and trivial in the scene of 2008.

Slipknot's bassist Paul Gray was found dead in 2010 at the age of 38.

(Translation by/ Tradotto da xxx)

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