SINGLE: Slipknot - Psychosocial

It’s been a long time coming.
2005 was the last time we saw Slipknot, obliterating stages across the world to the tune of ‘Vol. 3 – The Subliminal Verses’. Now finally, in 2008, we see the return of possibly metal’s most demented, psychotic, uncontrollable nine individuals, collectively known as Slipknot.

Despite them still wearing ever-so-silly masks, there’s no denying Slipknot’s passion (sic. tortured screaming, lyrical vehemence and absurd stage jumps) throughout their career, and now also their maturity. Not really a word you’d naturally associate with a group of people from Iowa wearing masks shaped like all your worst nightmares, is it? Nevertheless, this is none more so evident than on the last album, which was pecked with the acoustic explorations Circle and Vermillion Part 2. Both are surprisingly some of the best material Slipknot have produced, a long way from the rap-thrash of Eyeless or Spit It Out. The shiny new track from All Hope Is Gone – the album released the day after their Reading Festival slot on August 25^th – is titled Psychosocial, and perhaps could become the new Duality for this latest era of their campaign.

All great things start well, and Psychosocial is no exception. A pinch harmonic-edged riff slams into life, Joey Jordinson, Chris Fehn and Shawn Crahan begin their multi-layered percussion assault, and the verse kicks in like a mother. ‘I did my time!’ Corey Taylor screams over a tasty stop, all the while a steady beat pounds away underneath, giving the track a certain groove not unlike one you’d find on a Pantera song. Slipknot are known to have heavily melodic choruses, i.e. Wait and Bleed, My Plague; this is no exception, being instantly memorable and singalong-friendly. Corey’s vocals are noticeable different – he takes on a growl suited usually to Lamb of God, but he manages to pull it off in his own way. Another verse and chorus later, we are treated to a guitar solo.

Now, Slipknot guitar solos are not famous for being… well, any good whatsoever. That’s me being my frankest. The Des Moines nine-pieces are capable of writing tunes that are good enough without having to drop in some axe-twiddling to mask up any cracks. Vermillion (the electric version) is a superb example of a rubbish ‘Knot solo: it really does sound like dog shit for the ears, an aural fusion of Kerry King’s tunelessness and Tom DeLonge’s technique. Now, you don’t need me to tell you that’s an awful combination, do you? This is what makes it so surprising: the solo here is actually very listenable, and even worthy of whistling along to in some parts. A downright shame, then, when all the instruments tumble awkwardly into the sparse middle-eight. Joey does a fantastic job of keeping the bizarre beat (fooling you into thinking it’s multiple different time signatures at once) going, before the song builds back up a little with a bit of screaming here, a bit of guitar wailing there, bursting back into another short verse in time for a double chorus whip-around. Slipknot should be noted that their middle sections are generally amazing: check out Surfacing, or the aforementioned Duality and Spit It Out. Yet Psychosocial, sadly, outstandingly lacks in that department.

So, do we have an awesome return for Slipknot this Summer? I would conceive a very big ‘yes’ shouted from a high place, probably the Eiffel Tower - though a small hill somewhere will do. Psychosocial is a great song throughout, let down only by the senseless lyrics and breakdown. Hopefully it’s an indication that songs on the new album will be as good as, if not better, than this.
Hmm… I can’t stop the mental image of thousands headbanging to this at Reading creeping into my head. It’s going to be a good year for Slipknot.

Overall – 8 / 10
Get it? – Yes. Or Clown will throw a dead bird at you.

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