Member No Pretense wrote:
When Slipknot played last night, we got a view of a demented circus in which the animals are all rabid and the clowns wear make-up made from crushed bone dust and human blood.BackstagePassDirect has passes for all the greatest shows of this season. Join today and don't miss out.
With their 1999 self-titled debut, the nine Halloween-masked members of Slipknot enjoyed almost immediate success, riding the cresting popularity of the freshly minted genre of ‘nu-metal’. Of course, this brought along an inevitable backlash from some metalheads, who viewed nu-metal’s mix of alternative music with funk basslines, hip hop elements, and the canned aggression of X-Games ad campaigns as overly commercial. Add the fact that Slipknot’s popularity appeared nearly instantaneous, seemingly arriving without being earned through years of releasing forgotten split 7-inch records with bands like Mgla, and you have a tough sell to some purists.
But truth be told, the Iowa-based band owes less to hip-hop than they do to alternative metal. Essentially, they’re a very angry Tool without the math, or a less lethargic Acid Bath. Creating what could be described as high-octane grunge for kids with behavioural problems, their angst-ridden lyrics continue to strike a chord with disillusioned teens, who feed off the band’s nihilism and near boundless aggression.
That aggression was out in full force last night, as the band took the stage to a nearly packed house, dressed like nightmarish, serial killing GI Joes, and basked in the crowd's adulation.
Though Slipknot can sound generic on recordings, their stage show is something to behold. Not only are songs like Eyeless and the profanity-laced Get This absolutely crushing in a live setting, but the band is a fountain of bizarre, chaotic energy. With nine members, including a DJ, sampler, and two custom percussionists on top of super-drummer Joey Jordison, not everyone is constantly occupied with their instrument. Yet there were no idle moments, with members constantly roaming the stage, thrashing wildly or engaging in elaborate Punch and Judy style pantomime.
Between songs, singer Corey Taylor worked the crowd into a frenzy that matched his own spastic convulsions. But despite his manic energy, Taylor managed to keep his vocals tightly controlled, alternating between furious screaming and melodic passages in tracks like Wait and Bleed, Duality, or Before I Forget.
Equally ferocious were guitarists Jim Root and Mick Thomson, who thrashed their way through a down-tuned crunch of sound, though some of the solos drifted away from Root towards the end of the band’s nearly 2-hour set.
Surprisingly, Slipknot didn’t seem particularly interested in playing tracks off their new record, though they did make the token effort to play singles Sulfer, Psychosocial and the morose Dead Memories. Instead, the focus was on their earlier, heavier work, and some of the more experimental tracks from 2004's Vol 3 (The Subliminal Verses) and 2001’s Iowa. The chiming guitar intro of Vermillion, for example, brought to mind Twilight Zone music cues. And the marching band rhythms of The Blister Exists were aggressively martial, particularly in light of the group’s current uniform of tight jeans, tattered military-style jackets, and Converse sneakers, which gave them the appearance of a homeless hipster army.
Exhaustingly intense, all the sound and fury finally built to a grand crescendo of chaos. By the time final song Spit it Out was played, Jordison was drumming at a 90 degree angle on his movable drum riser. The percussionists were throwing beer kegs at the sampler, and DJ Sid Wilson was essentially swinging from the rafters. Quite a circus and certainly memorable as the whole quaking mess was viewed from backstage.
