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Released on October 20, 2014 via Roadrunner Records
The first album in six years from American metallers Slipknot, entitled .5: The Gray Chapter, is the first to not feature bassist Paul Gray and drummer Joey Jordison. The tragic death of Gray tints the album with a sadness, but doesn’t mean the band have mellowed in any shape or form. Apparently vocalist Corey Taylor described the album’s sound as a mix of Iowa’s brutality whilst having “gorgeous melodies”. A fairly accurate description as there are some outstanding choruses (and verses) on what I would consider their best album to date.
For some, Slipknot are a band ripe for ridicule, the whole mask/boiler suit/boke in a jar shtick getting in the way of what is actually a very consistent metal act, with a vast back catalogue of bloody good albums behind them. I like to look a little bit beyond all of that façade, as striking as it is, and appreciate the band for their music rather than the gimmick. If ‘Wait and Bleed’ didn’t have such a damn catchy chorus I might have chosen to let that insane performance on TFI Friday pass over me all those years ago. I didn’t though, and with each release I return to appreciate the potent mix of sonic assault and hooks that some bands would kill for. I’ve never seen the band live, but they’re one of the few rock acts that I’ve concert DVDs of in my limited collection.
So, how will the band shape up with losing such prominent members in such very different circumstances? The opening track ‘XIX’ is a curiosity that hints heavily that things might be a bit different with this album. An irate (is he ever anything else?) Corey sings/chants over a percussion-less Arabic drone, the tension building and building. The track never explodes into life, leaving ‘Sarcastrophe’ to be the first reminder of glories past. Slow doom chords give way to the trademark Slipknot mix of supercharged drums, raging guitars and venomously delivered vocals. The chorus has a ginormous stomp and you can just visualise the masked and suited maniacs inducing all manner of mayhem on stage.
There’s no let up as ‘AOV’ rips out some more manic double kicking drums and twisted riffs, to combine in an awesome assault. The release of the chorus is most welcome and it is indeed memorable and hook laden. For me, this is how Slipknot manage to separate themselves from all of the other bands of this ilk. The mid-section when pianos are introduced to the sound to bring some quiet reflection, is also a new facet for the band.
Lead single ‘The Devil in I’ starts with a groove of immense proportions before neatly seguing into a commanding ballad section, Corey’s voice bursting with tragic melancholic soulfulness. The chorus is a boost of melodic metallic brilliance and you can feel from this song, how much the band have been hurting over the loss of Gray. At the same time, the album shows us why it’s a good thing they kept going. The aptly named ‘Killpop’ has a regular slow pulsing groove and allows Corey to sing out a great melody. This softer sound can’t last though and before long the raging bridge leads us into the album’s biggest chorus. Certainly an experimental track for Slipknot but it is brilliantly crafted showing an ability to write good songs, rather than just create harrowing metallic soundscapes.
Seemingly distracted by the momentary interlude of melody, ‘Skeptic’ and ‘Lech’ are a return to the punky thrashers they do so well, though admittedly, it’s these tracks I find less appealing. Lyrically, the former appears to be another homage to Paul Gray, the chorus informing us that “The world will never see another crazy motherfucker like you, the world will never know another man as amazing as you”.
The album’s one moment of letting the mask slip is the intro to ‘Goodbye’, soft 80s sounding drums, chimes and atmospheric keyboards begin the track but before long the acerbic guitars and battering drums enter, though the big tune remains. So do the chimes, and it brings an odd but effective sound to the mix. By the end of the track, we’re back into the realms of full-on metal assault again.
There’s a familiarity to the chorus of ‘Nomadic’, which manages to mention something about Status Quo not being a punishment, the snappy metallic verses and 90s solo very reminiscent of Rust In Peace era Megadeth. New wave guitars bring a new sound completely at the start of ‘The One that Kills the Least’. Another massive chorus later and you realise that there aren’t many bands around who combine aggression and melody the way Slipknot do. Will fans of the heavier sound be put off by the increase in memorable tunes on this album? Time will tell.
The album goes a bit strange at this point with the weird samples, cut-up sounds and spoken word vocals of ‘Custer’, melody is forced into hiding as the chorus is chanted by madmen. ‘Be Prepared for Hell’ is a brief interlude of odd sounds, creepy keyboards and scary voices, hellish indeed. The all-out fury of ‘The Negative One’ is driving, forceful and the stomping percussion and multi-tracked vocals manage to retain elements of punk too.
Closing tune ‘If Rain is What You Want’ has more new wave guitars and is a slower track, the pile driving riffs put to one side, it is still as dark as fuck though. Two bonus tracks provide some extra excellence, ‘Override’ has a rumbling, menacing groove and melodic vocal turn from Taylor. The chorus is a combination of Van Halen harmonies and heavy double kick drumming, I would have had this track on the main album for sure. One of the darkest tracks is ‘The Burden’, slower in tempo, Corey appears to be addressing assembled hoards of hooded fans with some cavernous roaring. The album ends on a very black note indeed, though there have been some momentous and brilliant uplifting melodies.
Ultimately, if you’re a fan then you’re going to hugely enjoy this album, Slipknot have been around long enough now to see spotty teenagers mature into young adults. If they were your band of choice as a youth and you’ve stuck with them, then you’ll appreciate the wider vision of the musical palette. If like me, you were already beyond the throes of exuberant youth, thereby too afraid to venture to one of their shows, you’ll still find this album a good listen. The very fact that they can knock out good tunes has meant that Slipknot have stood the test of time beyond a novelty act.
