Sarcastrophe (.5: The Gray Chapter, 2014) Its sickly, death metal-heavy intro riff is liberally pinched from May 17: a song that lives on Slipknot’s primitive, Excerpts From Current Project demo from 1996. Slipknot’s second album, Iowa, pushed, pulverised and piddled on the envelope in all sorts of new ways, but New Abortion is very much a throwback. ![]() That’s a fact, and it rings through every shout, scream and swear-word uttered by lead vocalist Corey Taylor each slithering riff from Jim Root and Mick Thomson the liquid-slick rhythm section comprising Alessandro ‘V-Man’ Venturella on bass and Jay Weinberg on drums the respective keyboard samples and turntable trickery of Craig Jones and Sid Wilson and every abrasive, bastardly brutal keg hit and muffled bellow by custom percussionist and band founder, Shawn ‘Clown’ Crahan, with his bin-smashing accomplice, lovingly dubbed ‘Tortilla Man’ by fans, in tow. They’re the heaviest, most extreme band to achieve major festival-headlining status. Since then, they’ve dialled up the extremity, focused more on clean singing, incorporated acoustic elements, experimented with vocal melodies – they’ve tried anything and everything within their wheelhouse, doggedly dragging it across the globe on an arena-touring level. ![]() ![]() ![]() They took elements of nu metal, death metal, hip hop, industrial and more to sculpt a percussive, monstrously catchy noise nobody could compete with. Their debut was a titanic leap from their everything-and-the-kitchen-sink demo album, Mate.
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