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Collector's Box
Released: Jun 27, 2006
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Slipknot X-Posed: The Interview
Released: Apr 11, 2006
Label: N\A

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9.0: Live
Released: Nov 1, 2005
Label: N\A

In ten years {$Slipknot} have never compromised. They've never written a power {\ballad}; they've rarely even removed their masks. {$Slipknot} have become {\alt metal} stars the real way, through... Continue[+]

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In ten years {$Slipknot} have never compromised. They've never written a power {\ballad}; they've rarely even removed their masks. {$Slipknot} have become {\alt metal} stars the real way, through relentless touring, embracing fan support, and penning some truly brutal songs. They're not in it for the money, even if they're making the money. So is the message in {^9.0: Live}'s liner notes arrogance or searing, unblinking confidence? "Nine men on stage...pushing chaos so far past the limit all the onlookers can do is scream and hold on for dear fucking life." It's almost certainly confidence -- {$Slipknot} have lived it. But let the Maggots decide, because that's who {^9.0} is for. Their faithful roar -- and in particular their relationship with {$Slipknot} vocalist {$Corey Taylor} -- is what unifies the performances on {^9.0}, recorded in 2004 and 2005 during the group's touring for {^Vol. 3: The Subliminal Verses}. The crowd's collective yell is another instrument in the gristly, swirling mix of {&"Pulse of the Maggots,"} a disc one highlight along with {&"The Blister Exists,"} {&"Before I Forget,"} and the churning {&"(Sic)."} Disc two begins with {&"Three Nil,"} a layered and lurching thrill that's as chaotically groovy as classic {$Mr. Bungle}. {$Taylor} demands to see the outstretched devil horns for {&"Heretic Anthem,"} and that leads into a coldly creeping version of {^Iowa}'s title track. With its whining guitars and faraway screams, the song's like the horrible radio transmission of a shortwave numbers station perched on a precipice in hell. {&"Spit it Out"} is one of the only enduring classics of {\rap} and {\metal}'s fusion, and its seamless transition into {&"People = S#!t"} is one of the set's most engulfing moments. If there was even a question after a decade of destruction, {^9.0} proves the rewarding brutality of {$Slipknot} live. So when they're beating on the back of your skull with an aluminum bat, looking for a mind to change, are you going to call them arrogant, or believe in the confidence? ~ Johnny Loftus, All Music Guide

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Vol. 3: The Subliminal Verses - BONUS DISC
Released: Apr 12, 2005
Label: N\A

{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and... Continue[+]

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{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and bar codes that helped scare parents (like good {\metal} should) and transform {$Slipknot} fans into faithful "maggots." The Midwestern origin of all this craziness is genius, as the band's marrow-draining {\metal} and twisted, fibrous mythology is antithetical to the region's milquetoast rep. Still, after the gothic nausea of 2001's {^Iowa}, {$Slipknot}'s vitality dissipated in clouds of gaseous hype and individual indulgence. Had they grown fat on their thrones? Probably. But the layoff only makes {^Vol. 3: The Subliminal Verses} scream louder. Working with famously bearded helmer {$Rick Rubin} -- aka He Who Smites Bullsh*t -- {$Slipknot} pour the shrill accessibility of their self-titled debut down {^Iowa}'s dark sieve, and the result is flinty, angry, and rewardingly restless. {^Vol. 3} shares its lyrical themes of anger, disaffection, and psychosis with most of {$Slipknot}'s {\nu-metal} peers. Lines like "I've screamed until my veins collapsed" and "Push my fingers into my eyes/It's the only thing that slowly stops the ache" (from the otherwise strong {&"Duality"}) aren't unique to this cult. But unlike so many, the band's sound rarely disassembles into genre building blocks: riff + glowering vocal + throaty chorus = {~Ozzfest} acceptance. What makes {^Vol. 3} tick is the dedication to making it a {$Slipknot} album, and not just another flashy {\alt-metal} billboard. The seething anger and preoccupation with pain is valid because it's componential to the group's uniquely branded havoc. {&"Blister Exists,"} {&"Three Nil,"} and {&"Opium of the People"} are all standouts, strafing soft underbellies with rhythmic (occasionally melodic) vocals, stuttering, quadruple-helix percussion, and muted {\grindcore} guitar. {$Rubin} is integral to the album's power -- his cataclysmic vocal filters and arrays of unidentifiable squiggle and squelch unite {^Vol. 3}'s various portions in wildly different ways. Just when the meditative {&"Circles"} threatens to keel over from melodrama, in sputters strings of damaged electronics and percussion to lead it into {&"Welcome,"} which sounds like {$Helmet} covering {@Relapse Records}' entire catalog at once. Later, another counterpoint is offered, when the swift boot kicks of {&"Pulse of the Maggots"} and {&"Before I Forget"} separate {&"Vermilion"}'s gothic and acoustic parts. {^Vol. 3: The Subliminal Verses} doesn't feel like {$Slipknot}'s final statement. It's a satisfying, carefully crafted representation of their career to date. But there's a sense that whatever {$Slipknot} do next might be their ultimate broadcast to the faithful. [In May 2005 {@Roadrunner} issued {^Vol. 3} in a deluxe two-disc edition complete with a newly designed slipcase. Its extra disc includes three tracks from the {^Vol. 3} sessions, as well as live material recorded between 2001 and 2004 in Illinois, England, and Sweden. Highlights include the rawness and splutter of studio track {&"Don't Get Close"} and a blistering live take on the {^Iowa} standout {&"Disasterpiece."}] ~ Johnny Loftus, All Music Guide

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Vol. 4: The Subliminal Verses
Released: Apr 12, 2005
Label: N\A

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Vol. 3: The Subliminal Verses - AUSTRALIA TOUR EDITION
Released: Mar 8, 2005
Label: N\A

{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and... Continue[+]

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{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and bar codes that helped scare parents (like good {\metal} should) and transform {$Slipknot} fans into faithful "maggots." The Midwestern origin of all this craziness is genius, as the band's marrow-draining {\metal} and twisted, fibrous mythology is antithetical to the region's milquetoast rep. Still, after the gothic nausea of 2001's {^Iowa}, {$Slipknot}'s vitality dissipated in clouds of gaseous hype and individual indulgence. Had they grown fat on their thrones? Probably. But the layoff only makes {^Vol. 3: The Subliminal Verses} scream louder. Working with famously bearded helmer {$Rick Rubin} -- aka He Who Smites Bullsh*t -- {$Slipknot} pour the shrill accessibility of their self-titled debut down {^Iowa}'s dark sieve, and the result is flinty, angry, and rewardingly restless. {^Vol. 3} shares its lyrical themes of anger, disaffection, and psychosis with most of {$Slipknot}'s {\nu-metal} peers. Lines like "I've screamed until my veins collapsed" and "Push my fingers into my eyes/It's the only thing that slowly stops the ache" (from the otherwise strong {&"Duality"}) aren't unique to this cult. But unlike so many, the band's sound rarely disassembles into genre building blocks: riff + glowering vocal + throaty chorus = {~Ozzfest} acceptance. What makes {^Vol. 3} tick is the dedication to making it a {$Slipknot} album, and not just another flashy {\alt-metal} billboard. The seething anger and preoccupation with pain is valid because it's componential to the group's uniquely branded havoc. {&"Blister Exists,"} {&"Three Nil,"} and {&"Opium of the People"} are all standouts, strafing soft underbellies with rhythmic (occasionally melodic) vocals, stuttering, quadruple-helix percussion, and muted {\grindcore} guitar. {$Rubin} is integral to the album's power -- his cataclysmic vocal filters and arrays of unidentifiable squiggle and squelch unite {^Vol. 3}'s various portions in wildly different ways. Just when the meditative {&"Circles"} threatens to keel over from melodrama, in sputters strings of damaged electronics and percussion to lead it into {&"Welcome,"} which sounds like {$Helmet} covering {@Relapse Records}' entire catalog at once. Later, another counterpoint is offered, when the swift boot kicks of {&"Pulse of the Maggots"} and {&"Before I Forget"} separate {&"Vermilion"}'s gothic and acoustic parts. {^Vol. 3: The Subliminal Verses} doesn't feel like {$Slipknot}'s final statement. It's a satisfying, carefully crafted representation of their career to date. But there's a sense that whatever {$Slipknot} do next might be their ultimate broadcast to the faithful. [{@Roadrunner} released an Australian tour edition of {^Vol. 3}.] ~ Johnny Loftus, All Music Guide

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Vermilion
Released: Jan 4, 2005
Label: N\A

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Vol. 3: The Subliminal Verses - BONUS TRACK
Released: Jun 29, 2004
Label: N\A

{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and... Continue[+]

Album Name	Required
Album Cover
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{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and bar codes that helped scare parents (like good {\metal} should) and transform {$Slipknot} fans into faithful "maggots." The Midwestern origin of all this craziness is genius, as the band's marrow-draining {\metal} and twisted, fibrous mythology is antithetical to the region's milquetoast rep. Still, after the gothic nausea of 2001's {^Iowa}, {$Slipknot}'s vitality dissipated in clouds of gaseous hype and individual indulgence. Had they grown fat on their thrones? Probably. But the layoff only makes {^Vol. 3: The Subliminal Verses} scream louder. Working with famously bearded helmer {$Rick Rubin} -- aka He Who Smites Bullsh*t -- {$Slipknot} pour the shrill accessibility of their self-titled debut down {^Iowa}'s dark sieve, and the result is flinty, angry, and rewardingly restless. {^Vol. 3} shares its lyrical themes of anger, disaffection, and psychosis with most of {$Slipknot}'s {\nu-metal} peers. Lines like "I've screamed until my veins collapsed" and "Push my fingers into my eyes/It's the only thing that slowly stops the ache" (from the otherwise strong {&"Duality"}) aren't unique to this cult. But unlike so many, the band's sound rarely disassembles into genre building blocks: riff + glowering vocal + throaty chorus = {~Ozzfest} acceptance. What makes {^Vol. 3} tick is the dedication to making it a {$Slipknot} album, and not just another flashy {\alt-metal} billboard. The seething anger and preoccupation with pain is valid because it's componential to the group's uniquely branded havoc. {&"Blister Exists,"} {&"Three Nil,"} and {&"Opium of the People"} are all standouts, strafing soft underbellies with rhythmic (occasionally melodic) vocals, stuttering, quadruple-helix percussion, and muted {\grindcore} guitar. {$Rubin} is integral to the album's power -- his cataclysmic vocal filters and arrays of unidentifiable squiggle and squelch unite {^Vol. 3}'s various portions in wildly different ways. Just when the meditative {&"Circles"} threatens to keel over from melodrama, in sputters strings of damaged electronics and percussion to lead it into {&"Welcome,"} which sounds like {$Helmet} covering {@Relapse Records}' entire catalog at once. Later, another counterpoint is offered, when the swift boot kicks of {&"Pulse of the Maggots"} and {&"Before I Forget"} separate {&"Vermilion"}'s gothic and acoustic parts. {^Vol. 3: The Subliminal Verses} doesn't feel like {$Slipknot}'s final statement. It's a satisfying, carefully crafted representation of their career to date. But there's a sense that whatever {$Slipknot} do next might be their ultimate broadcast to the faithful. [{@Roadrunner} released a bonus track edition of {^Vol. 3}.] ~ Johnny Loftus, All Music Guide

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Up to Our Necks
Released: Jun 29, 2004
Label: N\A

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Vol. 3: The Subliminal Verses
Released: May 25, 2004
Label: N\A

{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and... Continue[+]

View Tracks (14)

Album Name	Required
Album Cover
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Album Description

{$Slipknot} set out to construct the ultimate {\metal} music flamethrower, ever since their genesis in a Des Moines, IA, basement. But they also deployed an agitprop campaign of masks, smocks, and bar codes that helped scare parents (like good {\metal} should) and transform {$Slipknot} fans into faithful "maggots." The Midwestern origin of all this craziness is genius, as the band's marrow-draining {\metal} and twisted, fibrous mythology is antithetical to the region's milquetoast rep. Still, after the gothic nausea of 2001's {^Iowa}, {$Slipknot}'s vitality dissipated in clouds of gaseous hype and individual indulgence. Had they grown fat on their thrones? Probably. But the layoff only makes {^Vol. 3: The Subliminal Verses} scream louder. Working with famously bearded helmer {$Rick Rubin} -- aka He Who Smites Bullsh*t -- {$Slipknot} pour the shrill accessibility of their self-titled debut down {^Iowa}'s dark sieve, and the result is flinty, angry, and rewardingly restless. {^Vol. 3} shares its lyrical themes of anger, disaffection, and psychosis with most of {$Slipknot}'s {\nu-metal} peers. Lines like "I've screamed until my veins collapsed" and "Push my fingers into my eyes/It's the only thing that slowly stops the ache" (from the otherwise strong {&"Duality"}) aren't unique to this cult. But unlike so many, the band's sound rarely disassembles into genre building blocks: riff + glowering vocal + throaty chorus = {~Ozfest} acceptance. What makes {^Vol. 3} tick is the dedication to making it a {$Slipknot} album, and not just another flashy {\alt-metal} billboard. The seething anger and preoccupation with pain is valid because it's componential to the group's uniquely branded havoc. {&"Blister Exists,"} {&"Three Nil,"} and {&"Opium of the People"} are all standouts, strafing soft underbellies with rhythmic (occasionally melodic) vocals, stuttering, quadruple-helix percussion, and muted {\grindcore} guitar. {$Rubin} is integral to the album's power -- his cataclysmic vocal filters and arrays of unidentifiable squiggle and squelch unite {^Vol. 3}'s various portions in wildly different ways. Just when the meditative {&"Circles"} threatens to keel over from melodrama, in sputters strings of damaged electronics and percussion to lead it into {&"Welcome,"} which sounds like {$Helmet} covering {@Relapse Records}' entire catalog at once. Later, another counterpoint is offered, when the swift boot kicks of {&"Pulse of the Maggots"} and {&"Before I Forget"} separate {&"Vermilion"}'s gothic and acoustic parts. {^Vol. 3: The Subliminal Verses} doesn't feel like {$Slipknot}'s final statement. It's a satisfying, carefully crafted representation of their career to date. But there's a sense that whatever {$Slipknot} do next might be their ultimate broadcast to the faithful. ~ Johnny Loftus, All Music Guide

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