Album Review: Slipknot - 'The End So Far'
After 7 albums and 2 decades - The End, So Far ends the partnership of Roadrunner Records and Slipknot. The Iowans have been a mainstay in modern mainstream music throughout this period and that does not seem to be changing anytime soon and as they draw a close to this era, there is a real amount of anticipation of what comes next.
The album opens with Adderall, which really took me by surprise by building into a slow and melodic opener featuring almost Beatles-esque vocal harmonies. Interestingly, the track doesn’t sound like a Stone Sour song as may be the suggestion – this still feels like Slipknot, just not as we’ve heard them before. This may be due to the slightly ominous vocal backing throughout the track that keeps that unnerving feeling throughout. Opening with this track was a bold decision but the risk is worthwhile and it ends up being one of the most memorable tracks on the album due to this for me, but this could be a topic of discussion between fans.
Next up the 3 singles realeased - The Dying Song (Time To Die), The Chapeltown Rag and Yen which immediately bring you back into the reality of who’s album you have on. The three songs are quintessential Slipknot, firing on all cylinders and for anyone doubting the release from the first track will be firmly back on board here. Stand out bass riffs and record scratches are always a welcome addition for someone like me who will clutch onto the remainder of 90’s – 00’s Nu-Metal to the grave.
Hivemind feels like it has been written with live shows and festivals in mind. A wonderfully screamable chorus and just perfectly enough time between verses and riffs to get the circle pit opened and running in full effect. This follows well to Warranty which seems created in much the same vain. The iconic Taylor machinegun vocals make a stunning return into a hard hitting chorus.
The tempo drops now into Medicine For The Dead, the intro wouldn’t feel out of place in a horror movie. Unlike the opener, there is no debate to be had on whether or not this is a true Slipknot song as the reduced tempo does absolutely nothing to take away from the depth and size of this track. Whilst not being an in your face and guttural track, the song manages to feel as heavy as the rest of the album. The song ends out with an eerie synth sound which flows into the beginning of Acidic, the track really shows that Taylors voice has not even begun to waver. Frequently switching between his clean vocals and impressive screams – something that I anticipate we will be seeing more of going forward which excites me further for what’s to come. It almost feels a shame it’s not been done more throughout their back catalogue.
Heirloom begins to pick the pace back up towards the end of the album, the intro of blast beats and record scratches which builds into a real Dad rock arena anthem sounding track which whilst not the most captivating, serves the purpose of keeping the album flowing into the absolute overload that is due to come next.
For older fans of the band, H377 will be the standout song for many. A relentless and unwavering homage to the band's glorious uprising. Unapologetically Slipknot and a song that can stand shoulder to shoulder with the band's classics and not seem out of place at all.
De Sade feels like what would happen if you gave Corey Taylor the reins to create the soundtrack to a musical (which personally, I think someone should definitely look into doing). This theme is continued into Finale and it feels like both these tracks add to what is not just the end of the album, but also of the era. Slipknot and Roadrunner feels like one of the most important signings in metal. Growing both band and label throughout – Roadrunner were arguably the most important label in metal over the 2000’s and there is absolutely a case to be made for the influence Slipknot have had on the industry since bursting onto the scene to be the biggest the scene has had maybe ever.
The future is exciting for what is next, looking more and more likely that the band will not be signing to another label but pressing on with their own to add to the brand they have created. From clothing to events and almost everything in between, will record labels be next?
The End, So Far has everything you’d want from a Slipknot album but feels as though they have played it safe which could be due to such a momentous partnership coming to an end.
One thing for certain is that the band won’t be going anywhere anytime soon, and Roadrunner has one hell of a back catalogue that will continue to be reproduced, repressed and remastered for a long time to come – but who could blame them!
Words by Thomas Maclachlan
