Slipknot - Vol. 3: The Subliminal Verses
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Music CD Cover
Artist: SlipknotBrand: SLIPKNOT
Edition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2004-05-25
Music Label: Roadrunner Records
Product features:
- SLIPKNOT THE SUBLIMINAL VERSES
- Prelude 3.0
- The Blister Exists
- Three Nil
- Duality
- Opium Of The People
- Circle
- Welcome
- Vermilion
- Pulse Of The Maggots
- Before I Forget
- Vermilion Pt. 2
- The Nameless
- The Virus Of Life
- Danger - Keep Away
Free Music Notes for Vol. 3: The Subliminal Verses
Free Music Review: Slipknot evolve, mature, & make their best C.D. to date
Hit: 5 Stars
Even though this C.D. came out last year, I am only now just reviewing it because I wanted to make sure it was good. I was sort of lukewarm on it at first, then I listened to it again and I didn't know what to think about it. Finally, I listened to it a few more times and, even with repeated listens, I think it's Slipknot's best album to date.
I'm sure almost all of us know the story behind this album, but no review of "Vol. 3"would be complete without a little summary of Slipknot's history. Most considered their sophomore effort, "Iowa," a commercial and musical disappointment. In addition to being called "sell-outs," the band members took some time apart from each other. Three side projects (Stone Sour, Murderdolls, and To My Surprise) cropped up (plus guitarist Mick Thompson was supposedly in talks about creating a side project), and rumors were circulating that the Knot was untying. But then, in August 2003, the nine band members hunkered down in a Los Angeles studio, with super producer Rick Rubin (who produced such albums as "Reign in Blood"), and began work on the new album.
I think the time off they took (to explore other musical venues) definitely did Slipknot some good. Some old school maggots hate this album and were alienated by it, but both newcomers and fans who listen with an open mind should like "Vol. 3" quite a lot. Some Slipknot diehards will hate me for saying this, but if you listen to this C.D., you will hear some Stone Sour influence. Stone Sour is Corey Taylor's side project which debuted in 2002, and "Vol. 3" isn't quite like Slipknot meets Stone Sour, but the new Slipknot songs do have cleaner, more musical guitar riffs, and even some acoustic ballads. Plus, even thought I don't hear all 9 members on "Vol. 3," it does sound a lot less cluttered and cacophonous than "Iowa."
Even though it's up for debate whether or not Slipknot show their true selves on "Vol.3," it's not up for debate that this album proves that Slipknot know how to write good music. After hearing "Iowa," I sure didn't think Slipknot were headed in a more melodic direction; thus "Vol. 3" was a big surprise. It has more of a classical metal influence: in addition to some acoustics, guitarist Mick Thompson (and his counterpart, James Root) solo a lot more here than they ever did in the past. "Vol. 3" is more radio ready, and not as intense or raw as their past albums, but it is also not nearly as out-of-control or crazy. Plus, much of the music is still heavy. Mick and James still know how to lay down some powerful riffs, and there are some songs (i.e. track three) that will please old school fans. So, this album has a new sound mainly because of Corey's newfound melodic vocals (most of his singing here is on the melodic side).
1. "Prelude 3.0" is like an intro, with just some soft strumming and a laid back drum beat, while Corey continuously drones the line "Now it's over."
2. "The Blister Exists" has a thrash flavor to it. It has good chug and churn riffs and pounding drum work. The vocals switch back and forth between yelling and spoken word, and the end of this song has drums which sort of echo "Stomp," the musical.
3. "Three Nil" gets quite loud and noisy. The guitars, drums, and vocals go all out and make pounding rhythm. This is one of the songs that should please old school fans.
4. "Duality" is the lead single. Corey described it as "Slayer meets Ministry," and I'd say that's a pretty fair comparison. After the spoken word intro, the beat kicks in and the guitars chug. Corey's low voice sings calmly, and the guitars become almost bobbing and punching (which should make this song a good headbanger). There's some clean backing vocals in the chorus, and I enjoy the subtle speed change around the 3:15 mark.
5. "Opium of the People" has a very weird beginning with high pitched, bubbly, beeping guitar noise. The first verse has a fast, almost vibrating (but non-dominate) riff, and this song eventually changes to a bobbing beat with punching guitars.
6. "Circle" is the first ever Slipknot song to feature acoustic guitars! Corey sings melodically, making this song quite pretty and very much in vein of the Stone Sour single "Bother." A catchy drum beat finally begins around three minutes and forty seconds into the song, but it ends abruptly thereafter.
7. "Welcome" has stop-start riffs with simultaneous drumming and Corey makes a screaming entrance. The beat remains staccato throughout the verses, but then there are two guitar solos (the first of which is rather wild and all-over-the-place).
8. "Vermilion" is the second single. There's a "ding ding" sound at the beginning and end of this one, and the rest of this song's tempo is fairly slow (with no speed changes). The drums sort of drive the beat early on, even with chug and churn guitars, but another good guitar solo is included (which might be this album's best).
9. "Pulse of the Maggots" was probably written just for live shows. This song, which has another pounding rhythm, is dedicated to Slipknot's fans, and has several more careening guitar solos. But, even still, this track comes across sort of sounding like filler.
10. "Before I Forget" has more good, thrashy, toe-tapping riffs. Most of this song is brief splashes of machine gun riffs, but there's a good melodic part and the big, catchy chorus makes this song fitting of being "Vol. 3"'s third single.
11. "Vermilion Pt. 2" is the second acoustic driven ballad on here. This one has two guitars and two vocalists, making it sound not as much like "Bother."
12. "The Nameless" has another choppy beat with bobbing riffs, and some DJ scratching. This song twice breaks for a brief acoustic segment; after the second time, the beat becomes more continuous and not as choppy.
13. "The Virus of Life" has catchy, stomping drums (which, at times, sound like a clattering of heavy boots), and a few more DJ scratches. The guitars eventually come on and make a couple of crunchy riffs, and I enjoy Corey's ascending vocals (he builds to a yell, while repeating the line: "This is the virus of life").
14. "Danger-Keep Away" opens with an instrument that could pass for a piano. Some distant vocals and a slow drum beat eventually begin, and Corey croons some more. Another vocalist joins Corey in the second half of this song, and sings in unison with him.
Now, I would not call this album "brilliant" (as Corey described it), and I don't blame some longtime Slipknot fans for hating "Vol. 3"; but I'm very glad Corey and the gang took some time off after "Iowa," and took their time when writing this album. The bottom line is all metalheads should definitely check this one out and listen with an open mind, because "Vol. 3" is one of the finer metal albums of 2004. One can just imagine the metal gods looking down on Slipknot and smiling in approval.
Vol. 3: The Subliminal Verses Poster
Within the confines, or lack thereof, of VOL. 3: (THE SUBLIMINAL VERSES) lies a new level of musicianship, achieved through the hard work poured into supporting their self-titled debut and their subsequent hit album, IOWA. Produced by Rick Rubin, Vol 3 not only captures the band?s strengths to this point- it sees the spore that is Slipknot exploding in all directions. The songs on this daring effort transcend traditional hard music structure, and will surprise the uninitiated with their dynamic appeal. Masterful guitar work, visceral drum beats, and a newly-expanded vocal range are highlights of this work that Corey Taylor (#8) calls "both brutal and beautiful." Much of the creative inspiration in evidence on the new album is owed to Rubin and his reputedly- haunted mansion, in which the band lived while recording VOL. 3: (THE SUBLIMINAL VERSES). "You can really feel (the effect of the mansion) on the album. There were ghosts in the machine, in the equipment! . Things would freeze, things would loop for no reason at all. It was strange," adds Taylor. Paul Gray (#2) comments on what Rubin brought to the table? "Rick brought a huge amount of open mindedness - normally 9 different people trying different things can be tough - Rick got us to just throw all our preconceived notions out the window. He was able to integrate bits and pieces of everyone's ideas."The first single off VOL. 3: (THE SUBLIMINAL VERSES), "Duality" is, "lyrically, what you might think... we've been through a lot as a band and the lyrics really reflect our maintaining faith and the perseverance of all 9 of us," says Joey Jordison (#1). "Duality" represents the album well in its unwillingness to compromise the band?s rock foundation and its ability to be aurally appealing and melodic at the same time. Other songs of note on the record, "Before I Forget" and "Vermillion" underline the statement made by "Duality", with their dark melodies and fierce instrumentation. "Before I Forget" is about rising above the bull*#!t and being a person, not a human. It's about saying what you mean and meaning what you say - taking zero bull#!*t." adds Taylor, "and Vermillion is a stalker's love song, shot thru his eyes. It's kind of a does he or doesn't he type thing - it's left open for you to decide."
If it's sometimes a chore to get past Slipknot's stratified shock-rock shtick, Iowa's nouveau metal-mongers take the occasion of their third album proper to prove there's a genuinely restless, undeniable musical juggernaut beneath the horror-show masquerade. Producer Rick Rubin has honed their modern metal assault to a fine edge here, tempering it with a compelling sense of dynamics missing from all too many similar heavy forgings in the bargain. But credit the band with hammering together the solid foundations of what stands as their best album to date, a collection that succeeds by--surprise--reverting to more traditional song-forms and occasionally operating at something other than a relentless fevered pitch. Call it mainstreaming or a newfound maturity; whatever it is, it pays diverse dividends from the opening cinematic tension of "Prelude 3.0" and paramilitary-cadenced thrill ride "Three Nil" to the moody, rap-thrash single "Duality" and the unlikely, angst-laden pop hooks of "Circle." If that song's cello-inflected atmospherics and lilting Corey Taylor vocals may have the band's faithful initially rubbing their ears in puzzlement, by the time the evocative acoustic guitars, bittersweet harmonies and string quartet break of "Vermilion Pt. 2" rolls around, it's clear this is a band who's challenged itself with broad new horizons--and triumphed. --Jerry McCulley
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