A couple years of silence and a few months of turmoil seems to be the formula that will make up the advent of every new Slipknot album from here on out. Last time, it was the death of bassist Paul Gray, which threw the future of the nine-piece Des Moines band into uncertainty, followed by the dismissal of drummer Joey Jordison just when the ball started to get rolling again. Similarly, after being inactive since 2016, Slipknot entered a new world of chaos when it came time to prepare the new record, with the publicly dramatic firing of percussionist Chris Fehn over a lawsuit against the band leaders, and the unnerving death of band visionary Shawn ‘Clown’ Crahan’s daughter. It’s not hard to see that there’s a lot that’s changed about Slipknot in the 20 years since their debut album was unleashed into the world. But through all the drama and tragedy, there is one thing that remains intact: the sense of danger that seems to follow the band, the looming idea that it might implode at any moment, and its latest record could always be its last.
If We Are Not Your Kind ends up being Slipknot’s final record, they’ll go out on a high note. The tumultuous nature that is Slipknot’s essence fuels this album, making it the angriest one they’ve put out in well over a decade. It’s not melancholy like .5: The Gray Chapter or commercial like All Hope Is Gone. The new chapter of Slipknot has a wholly different energy. A much more satisfying listen than its two previously mentioned predecessors, We Are Not Your Kind is an impressive output from the ‘Knot. After Insert Coin, the perfunctory noise intro that starts off most Slipknot albums, the record kicks off with already well-known lead single, Unsainted. While it’s far from being the strongest song of the bunch, it has the catchiest clean chorus, and the one that fits the song the best. Others don’t land quite so successfully. Before another short interlude, Death Because Of Death, comes the album’s main highlight, Birth Of The Cruel. The track is WANYK’s most reminiscent of Slipknot’s early work, though that isn’t to say it should be on one of those older albums. The writing is similar to songs like Prosthetics, Scissors and Diluted from Slipknot’s debut album, but the polished production makes a big difference. The first record had a muddy production adding to the overall feel of the songs. Many of the songs on We Are Not Your Kind, Birth Of The Cruel included, sound more mature, whether that’s a good or bad thing.
To get one thing out of the way, this album is not another Iowa. Despite singer Corey Taylor’s promise that the album would see levels of heaviness that parallel the band’s monstrous 2001 sophomore record, it doesn’t come close to that kind of rawness. But nobody should expect Slipknot to recreate that. Guitarist Jim Root disagreed with Taylor, even saying “we’re not that band anymore” when refusing to compare the new album to Iowa. He’s right—the first two Slipknot albums were made in low rent studios full of drugs and vomit, and none of the band members were living the comfortable, wealthy lifestyle they now enjoy. There are many standout features that separate WANYK from previous release .5. Root has clearly come into his own more as a key songwriter, and the same can be said for Jay Weinberg as a drummer and permanent member. Taylor’s voice sounds infinitely better since he quit smoking, and there’s even a hint of that ethereal creepiness that tinged the first Slipknot album but has not really been present in some time.
The album is fast-paced and exciting, with intricate drumming and guitar patterns that keep the listener on his or her toes for the first several listens. Taylor’s vocals shine on several of the songs, from his raspy cleans on Liar’s Funeral, to his rap-like rapid fire spitting on Nero Forte. Towards the end of the album, experimental tracks Spiders, My Pain and Not Long For This World diminish the momentum built by heavy earlier tracks like Red Flag and Critical Darling a little, but the presence of Orphan and album closer Solway Firth, which have echoes of Iowa’s The Heretic Anthem and My Plague respectively, re-establish it in full. In recent years, it seemed Slipknot was on its way to becoming an arena rock band that played metal music. The long hiatuses from touring and the handful of festival headline slots every other summer didn’t do much to dispel that. But We Are Not Your Kind is Slipknot showing that the band is still a relevant force in heavy metal music and culture—now and always. 8/10
Northlane: Alien (UNFD) [Alex Swift]
‘You can’t make me disappear. You try to change me but I’m still here’ Northlane screams on Details Matter - sounding a rallying cry against those who wish the Djent trend would just die. Despite their cult status, Northlane has proved themselves one of the most significant acts in progressive Metalcore. I still consider Node a high point of the genre and was enthused by their 2011 album Mesmer. As the official follow up to that album, I had high expectations for Alien! The melodic elements still come in crests, with synthesizers creating a menacing whilst immersive experience on moments like 4D, Talking Heads, and Rift. Meanwhile, the guitars and bass perfectly supplement the tension on display, rearing and subsiding with the precision of a sharpened blade. Indeed, Bloodline and Paradigm see the instrumentals roar into life, proving glorious moments of feeling and passion.
Make no mistake, this is, once again, a very different identity for Northlane! Musically, we see a multitude of emotions, moods, and styles being utilized, all rising and falling to the tone of the anguish and fortitude conveyed through the lyrical content. There are some cliché, predictable aspects for sure, yet they are not overbearing and serve to supplement the overall aura of the record. Distinctly Avant-garde, fascinatingly adventurous and far more visceral than you may expect, believe me when I say you do not need any preconceived notions of weighty breakdowns and emo vocal styles to be dissuading you from giving Alien all the attention warranted! Aside from breaking new ground for themselves, Northlane break new ground for the metalcore genre, living up to the gripping nature of past works and proving them deserving of a place amongst the acts carving out a direction for the future of metalcore! 8/10
Russian Circles: Blood Years (Sargent House) [Lee Burgess]
If like me, you are knee deep in admiration for the post-metal scene, then Russian Circles are probably going to be right up your street. There isn’t much here that is new. You can hear echoes of Cult Of Luna, Pelican, The Oceans and many others, but this is not a bad thing. This band aren’t copying or mimicking, merely referencing those bands who have made such an imprint on those who love these pulsing sounds. Post-metal seems to draw hatred from those who like their music to be rounded and formulaic. With that in mind I’d say Russian circles new album Blood Year isn’t going to appeal to many outside of the genre. It will instantly give traditional metal fans images of hipsters standing around acting all disinterested with the world.
This is a shame, because the music is so dense and layered, and, well, interesting. What Russian Circles do well is to give us sounds we know we’ve heard but somehow they manage to keep it fresh and energetic. Anyone excited for the Upcoming Cult Of Luna record should get their listening gear around this little gem first, as it acts as a nice little stop gap. We have all the elements in all the right places and it’s all a nice neat little package. It’s good to hear music that doesn’t snarl and bark. It gives us something with a bit more meaning than gore and mutilation. There’s nothing wrong with brutality, but there’s also nothing wrong with asking more of listeners. If you’re looking to broaden your listening range, give this a spin. You might just be surprised. 8/10
Mad Spanner: Life Absurd (Self Released) [Rich Oliver]
Life Absurd is the debut album by Shrewsbury punk metallers Mad Spanner. Definitely not a band to be taken seriously Mad Spanner are another band who use comedy and silliness as a lyrical theme so those of you with a silly sense of humour will easily enjoy songs such as Anal Sex, Get Off Your Bastard Phone (You Anti-Social Dickhead) and I Was Caught Shitting In A Plastic Bag. There’s also a cutting social commentary throughout highlighting many of the things in modern day society that irritate and annoy. Musically the band have a lot in common with crossover thrash with fast paced punked up thrash riffs and hardcore style vocals. The performances are loose and sloppy but I believe this is intended. Whilst there is plenty of silliness and humour throughout this album I found it didn’t have much in the way of staying power and by the end of the albums short duration there was very little that stood out to me. This is a fun but ultimately very disposable release. 6/10
Make no mistake, this is, once again, a very different identity for Northlane! Musically, we see a multitude of emotions, moods, and styles being utilized, all rising and falling to the tone of the anguish and fortitude conveyed through the lyrical content. There are some cliché, predictable aspects for sure, yet they are not overbearing and serve to supplement the overall aura of the record. Distinctly Avant-garde, fascinatingly adventurous and far more visceral than you may expect, believe me when I say you do not need any preconceived notions of weighty breakdowns and emo vocal styles to be dissuading you from giving Alien all the attention warranted! Aside from breaking new ground for themselves, Northlane break new ground for the metalcore genre, living up to the gripping nature of past works and proving them deserving of a place amongst the acts carving out a direction for the future of metalcore! 8/10
Russian Circles: Blood Years (Sargent House) [Lee Burgess]
If like me, you are knee deep in admiration for the post-metal scene, then Russian Circles are probably going to be right up your street. There isn’t much here that is new. You can hear echoes of Cult Of Luna, Pelican, The Oceans and many others, but this is not a bad thing. This band aren’t copying or mimicking, merely referencing those bands who have made such an imprint on those who love these pulsing sounds. Post-metal seems to draw hatred from those who like their music to be rounded and formulaic. With that in mind I’d say Russian circles new album Blood Year isn’t going to appeal to many outside of the genre. It will instantly give traditional metal fans images of hipsters standing around acting all disinterested with the world.
This is a shame, because the music is so dense and layered, and, well, interesting. What Russian Circles do well is to give us sounds we know we’ve heard but somehow they manage to keep it fresh and energetic. Anyone excited for the Upcoming Cult Of Luna record should get their listening gear around this little gem first, as it acts as a nice little stop gap. We have all the elements in all the right places and it’s all a nice neat little package. It’s good to hear music that doesn’t snarl and bark. It gives us something with a bit more meaning than gore and mutilation. There’s nothing wrong with brutality, but there’s also nothing wrong with asking more of listeners. If you’re looking to broaden your listening range, give this a spin. You might just be surprised. 8/10
Mad Spanner: Life Absurd (Self Released) [Rich Oliver]
Life Absurd is the debut album by Shrewsbury punk metallers Mad Spanner. Definitely not a band to be taken seriously Mad Spanner are another band who use comedy and silliness as a lyrical theme so those of you with a silly sense of humour will easily enjoy songs such as Anal Sex, Get Off Your Bastard Phone (You Anti-Social Dickhead) and I Was Caught Shitting In A Plastic Bag. There’s also a cutting social commentary throughout highlighting many of the things in modern day society that irritate and annoy. Musically the band have a lot in common with crossover thrash with fast paced punked up thrash riffs and hardcore style vocals. The performances are loose and sloppy but I believe this is intended. Whilst there is plenty of silliness and humour throughout this album I found it didn’t have much in the way of staying power and by the end of the albums short duration there was very little that stood out to me. This is a fun but ultimately very disposable release. 6/10
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