Published in:August 28, 2020, 11 a.m.
Let's be realistic:did not runthey are probably the most important metal band of the last two decades. Sure, they may not technically be the biggest, loudest, or most brutal. But it's undeniable that his mix of theatrics, dysfunction, and blaring extreme music has changed the sound, spirit, and public image of metal in more ways than any other artist in the genre in the last 20 years. Many bands have come and gone, even bands with masks and gimmicks, but these nine bands from Des Moines, Iowa remain relevant, interesting, andhugesince they were first released in the American heartland in the late 1990s.
Today marks the anniversary of the release of the band's second album that will change their career.Iowa, we decided to go all out and make a list as big as Slipknot. Below, we've ranked every Slipknot track from worst to best, right down to the interludes between songs. The only caveat is that we stopped since 1996Friend. Feed. Kill. repeat., because the band now considers it more of a demo, and because the songs on it were mostly recycled material from their other studio releases.
Here are all of Slipknot's songs, in order of how much they strangled our world. Stay (sic).
94. “-Silence-”, “-Talk-” and “-Funny-”(.5: The Gray Chapter,2014)
These three bonus tracks from the 2014 album.5: The Gray Chapterthey're what they say on the label: one is quiet, the other is a bunch of ambient noise with conversations behind it, and the other is some kind of weird polka performance that's quite funny. They're good, but they don't add anything to the Slipknot conversation, and no track is really better than the other, which is why they're at the bottom of the list, in the same place.
93. “What comes next” (we're not your type, 2019)
It's not exactly clear what Slipknot were trying to achieve with this interlude track fromwe're not your type, but there's not much here besides a "Spiders" track. This is the recurring theme of the album's in-between moments: an attempt to connect songs with snippets of melody that might not otherwise have made it to the album. Either way, it's a nice interlude, but nothing too exciting.
92. “.run” (There is no hope, 2008)
The 2008 opening interludeThere is no hopeit has interesting aspects with its rising feedback and closing drums... but it's just an interlude, an aperitif to make the listener more hungry for the record. Of course, Corey Taylor can reveal that his twisted rant on the track is actually the most profound lyric he's ever written for Slipknot, but we doubt it. So #92.
91. “My pain” (we're not your type, 2019)
…eh. While 2019 iswe're not your typeseems to be about taking risks and playing with pop sensibilities, “My Pain” seems to veer too zealously into that territory. The Casio-esque beat and melody over Corey's clean vocals is not only less than metal, but also meaningless, leading to a great catchy chorus that would save the track if it came up. That might be fine for an interlude, but the song is over six minutes long, which calls into question Slipknot's motivations here.
90. “Death by cause of death” (we're not your type, 2019)
“Death due to death” is what it is: an interlude track with electronic noise and a single repeated lyric. It's also on the more traditional side compared to some of the other nightmarish, raucous moments among Slipknot songs. That doesn't mean it's bad, it is.it doesIt leads up to "Nero Forte" well, just not a terribly important or huge track. Hence why it is so low on this list.
89. “Tobacco” (There is no hope, 2008)
Hey boy. So toothy and angry so much 2008There is no hopewhich is to say, it also contains Slipknot's two sweetest ballads, and despite its title, "Snuff" is the naughtier of the two. With its slow guitars and lyrics like "My heart is too dark to care/You can't destroy what is not exist," this sounds a bit like Slipknot's "I Was Made For Lovin' You" or "Good Riddance." (Time Of Your Life)”, an attempt to tap into the burgeoning emo-rock scene of the late 2000s. How many mix tapes of this song were shoved into the glove box right after it started?
88. “Goodbye” (.5: The Gray Chapter,2014)
From the start, "Goodbye" is infused with the almost gothic sadness of the 2014 record..5: The Gray Chapter. But even though the track starts in the middle, it never feels like a Slipknot song. The structure is too much like a hard rock ballad to fully accommodate Clown's percussion, and Corey's singing is clearly Stone Sour-ish throughout. Not a terrible song by any means, but something in between for such a talented band.
87. “Prepare for Hell” (.5: The Gray Chapter,2014)
Of course, "Be Prepared For Hell" is just one of the.5: The Gray Chapterinterludes, but it has a definite weirdness to it. Filled with eerie moans, distorted vocals, and a classic '90s sense of industrial disassociation, the track quickly cuts through the Slipknot vibe. It's not quite as chaotic as some of its interlude brethren though, and it's just a mid-range track, so it sits right in the '80s.
86. "Danger - Stay Back"(vol. 3: The subliminal verses,2004)
I hope you brought the beaded glass chandeliers, because Slipknot feelsstriking. “Danger – Keep Away” encloses 2006vol. 3: The subliminal versesadmirably, its gloomy cave-club atmosphere fits when looking at the album's other quiet moments. Overall, the song feels more like an extended interlude track than a new track, mirroring the opener "Prelude 3.0". But, as with this track, the band obviously put some effort into it. Sadly, it doesn't have the same excitement as that one and therefore falls a bit short.
85. “Vermillion Pt. 2” (vol. 3: The subliminal verses,2004)
A rare moment where Slipknot ditch all the drums and go completely acoustic, “Vermilion P1. 2” feels like the salutary dawn after its predecessor's dark night... which is why it's so low (high? low?) on this list. In daylight, Slipknot's haunted house loses its dark power, and this track's sepia tone is too much for most listeners (or maybe not enough). While it's a solid way to show your non-metal friends that Slipknot has a softer side, there are so many light bulbs you can break with this song, if any.
84. “Gena” (There is no hope, 2008)
“Gehenna” follows in the footsteps of earlier songs like “Scissors” and “Iowa,” but its slow-paced weirdness feels a bit less psychological and toxic than those classics. Maybe it's the howling of the Halloween decoration that plays throughout the song, or Corey's whiny lyrics, but this one sounds less organic. Many of the band's other songs sound unintentionally creepy and therefore all the more intimidating; this looks like a Halloween attraction, creepy overall but deliberate and well dressed to be.
83. “Nursery for fragile members” (He did not run,1998)
Do you want to know why people were really afraid of Slipknot in 1998? This, right here. “Frail Limb Nursery” is just an interlude on the band's self-titled album, but the sobbing, broken voice sounds like her sister's confessions that her parents hid. Agonizing and goosebump-inducing, this short cut offers the kind of goosebumps Marilyn Manson only dreamed of at the time.
82. “Replace” (.5: The Gray Chapter,2014)
What “Override” seems to lack is definition. The rhythm and tone suggest a soulful ballad 'Knot', but the guitar and drums carry enough drums to make one wonder why it never really kicks in. Not only that, but it's a long way to what it is, in the course of five minutes of a mix. While interesting in certain aspects, this one never hooks the listener.
81. “(515)” (Iowa, 2001)
There is an episode ofrick y mortywhere Morty is about to be sent to prison and lets out a frenzied, primal scream whose specific pitch and syllables suddenly make people love and forgive him.Iowa'The opening track "(515)" is something of a backwards sort of thing, a series of high-pitched screams and throbbing notes that make the listener want to kill whatever is causing it (Sid is rumored to be yelling "DEATH," so which makes sense). She perfectly sets the tone for the record, trying to make anyone expecting something polished and listenable to jump out of her own skin. Definitely don't play Christmas carols when they show up at your door, it would be crazy and not fun at all.
80. “Insert Coin” (we're not your type, 2019)
While 2019 intro trackwe're not your typein many ways it is shocking and almost irritating, which seems to add to its power. The rough, rhythmic scratches of the song's opening act as a buffer, letting listeners know that if they're here to be gratified or cajoled, they've come to the wrong place. As such, it's a brief statement of the album's title and intent, a reminder that Slipknot may be bigger than ever, but they're still not here to be loved.
79. “Nomad” (.5: The Gray Chapter,2014)
“Nomadic” is almost the opposite of the previous track, “Goodbye” – it seemstoo muchLike a Slipknot song. From Sid's scratching to Corey's lyrics to Ben's drumming, this seems to have been structured to meet certain prerequisites assigned to Slipknot music. That's certainly good news for fans of the band, but for many of us, it's Slipknot's more unusual moments that set them apart from the rest. When Taylor yells, "I need you to hate me!", he almost sounds like he's explaining himself.
78. “Until we die” (There is no hope, 2008)
Many songs could be described as Slipknot "not wanting to make friends," but "'Til We Die" seems determined to alienate anyone who isn't ready for it. For starters, there's the screeching, high-pitched feedback behind the chorus. Then there's the fact that it's Stone Sour hard rock about coming together, not exactly your typical Slipknot thing. The pure audio mix of sweetness and confrontation means rabid metalheads and casual listeners alike will find it off-putting...which is perhaps what the band was looking for.
77. “This black cold” (There is no hope, 2008)
While it does have its moments, "This Cold Black" is a standard Slipknot track. Which means it's pretty good - tire! Destructive! Distorted! But everything from the beat to the lyrics feels like someone was asked to write a Slipknot song from a template. there just isn't enoughexaggeratehere, the sound of the entire universe collapsing around the listener at once. That said, it's a solid, raging metal track, so it's not the end of the world, even if we wish it was.
76."Stay away" (vol. 3: The subliminal verses,2004)
It's kind of obvious why "Don't Get Close" ended up as a bonus track. The song is perfectly serviceable and has a solid Slipknot thump and growl. But it feels a bit unfinished, as if many of the parts and lyrics were placeholders that were never changed before being recorded. Corey Taylor yelling, "Stay away, you don't know me and you never will" seems a bit disappointing after all the different ways he's told listeners to leave him alone before.vol. 3: The subliminal verses. One can hear why for certain fans this song has a special place in their hearts, but it's betterbile to be obtained elsewhere.
75. "Butcher's Hook" (There is no hope, 2008)
While "Butcher's Hook" is a solid 2008 Slipknot trackThere is no hopeIt seems incongruous. The band's wobbly tone is definitely appropriate for a song like this, but combined with Taylor's media-heavy lyrics and outraged pearl necklaces (or both?), this atmosphere seems better suited for a more venomous song. To accompany. However, the music definitely has that distinctive combination of belligerent and catchy that makes Slipknot so much fun.
74. “There is not much left for this world”(we're not your type, 2019)
To listen to the intro of “Not Long For This World” after the previous song onwe're not your type, the meandering "My Pain," fear they're on another darkwave track. Fortunately, this one packs a punch that saves it, with ample hard rock muscle filling the gaps between Taylor's opinions. The haunting midway solo is killer and leads to a fuller look at the song that makes it a memorable addition to Slipknot's catalogue. No doubt the song will find a special place on the playlists of Slipknot lovers in its catchiest form.
73. "The one who kills the least" (.5: The Gray Chapter,2014)
The strong response to the intro track "XIX", this song from the 2014 album.5: The Gray Chapterit's like a growing pain with music. The band's rapid-fire racket is ever-present, but sometimes battles against Corey Taylor's clean, melodious vocals. Meanwhile, electronic flourishes from Sid Wilson and Craig Jones add a spooky, territorial vibe to the entire track. It's like every member of Slipknot is trying to find their way into this song which, while not always perfect, definitely creates a delicious kind of tension.
72. “Dead Memories” (There is no hope, 2008)
Like a heart tattoo on the hip, "Dead Memories" is a song that did great things for Slipknot when it first came out, but now people wonder what motives were behind it. The song is the closest thing to a pop ballad the band had ever come up with, and it felt like all nine people were trying to cash in on some of that sweet My Chemical Romance money that was doing the rounds at the time. But while it's not overly angry and hard on cheese, it's memorable, if not for the best reasons, and it's got more bass than "The Reason" so it's stronger than some of the other Slipknot stuff. Even Jason Voorhees cried for his mother.
71. “Visual slip” (Iowa, 2001)
While Slipknot's slower, languid tracks are some of their best as a rule, "Skin Ticket" is something of a standard version of them. She definitely has some great Taylor-spitting, teeth-singing vocals, and the howling echo of the guitars cuts through for the mentally broken vibe she's going for. But the music doesn't do anything that necessarily makes the listener recoil in surprise or disgust, which is, in many ways, why we're all here in the first place. Still, a solid breeder.
70. “The Burden” (.5: The Gray Chapter,2014)
the closing number.5: The Gray Chaptersee Slipknot doing something weird and specific:crawling. With its pounding beat and slush drums, the track is slog, ankle-deep in misery. It's almost as if the band poured out all their grief over the death of bassist Paul Gray over the course of the album, and now it's piling up around their ankles and being forced through it to get to the production of this album. That desperation does something special, an unusual expression from nine guys who are often masters of their craft, showing how unprepared they were for anything.to be.
69. “Lech” (.5: The Gray Chapter,2014)
"I know why Judas wept,Motherfucker!"Thus begins one of the cruelest songs on the 2014 album..5: The Gray Chapter, a simple metal song that shows the absolute power of Slipknot's percussion. Yet at the heart of the wound is Corey Taylor, whose sardonic laughs and roars of pain take center stage in this raucous scaffolding of a song. As such, it's not the most experimental or dreamy Slipknot material, but it's one of those tracks that will captivate Slayer fans who like to look past the more flowery side of Iowans.
68. “Scream”(vol. 3: The subliminal verses,2004)
Like your bonus track onvol. 3: The subliminal verses, "Scream" seems misshapen in places, and as such makes sense as a song only included on a deluxe edition of the album. But then there's the pop-punk style chorus and the bizarre, frenetic solo in the middle that makes the listener freeze in mid-spin and wonder if they just heard the right thing. As such, it stands a cut above its peers, showing how even some of Slipknot's most original and interesting flourishes can be left out of the studio's release.
67. “The virus of life” (vol. 3: The subliminal verses,2004)
“El Virus de la Vida” is indicative of a recurring theme throughout 2006.vol. 3: The subliminal verses: Slipknot is having fun (I mean, nofunnyfun, not fun like the rest of us, but you know, fun tothey,dead bird in a jar fun). The band uses this album to experiment with different ideas, and the sheer, mechanical weirdness of this track shows that among the influences they incorporated were some 90s proto-goth and industrial. brilliantly, channeling the frenetic energy that made that era so compelling.
66. “Spiders” (we're not your type, 2019)
Has there ever been a Slipknot track like "Spiders" before? John Carpenter's music is slow and melancholic like many of his ballads, but it's never corny or emo, instead he experiments with goblin synths and pulsing dance beats. The result is material that stands out in the band's catalog while remaining clearly their own. It's refreshing to see Slipknot taking these kinds of risks so far in their career, even when they fall into the poppier side of things.
65. "Kindly" (Iowa, 2001)
"Softly" resembles a line from John CarpenterThe thing- "Whatever it is, it's weird and annoying." This heavy clubfoot imprint is one of the strangest and most disturbing children of Slipknot, a slow burn that continually erupts into violent outbursts. In that way, he's like a serial killer, keeping his urges in check while making everyone around him uncomfortable, until the truth finally breaks free from his stomach wall and bubbles to the surface. It's definitely not a typical Slipknot track, but it should never be underestimated.
64. “Where the lies continue” (There is no hope, 2008)
With its medium tempo and clean, polished chorus, "Wherein Lies Continue" might have been a bigger single for Slipknot if it wasn't as anti-religious as a Behemoth track. It's an example of the band's inherent dichotomy: on the one hand, their big name means they always have to make sure they don't alienate Walmart and similar big chains; on the other, they were never afraid to go after those responsible for ruining the world. Either way, the song is a solid denunciation of the church's blindfolding and contains a sick harmonic script, which is why it earns a lower spot on this ranking.
63. "Prelude 3.0"(vol. 3: The subliminal verses,2004)
The second biggest intro track of Slipknot's career immediately stands apart from its previous two sisters in an interesting way: it's a song. Instead of the repeated sample ofHe didn't runs “742617000027” or the distorted howl ofIowaes "(515)",vol. 3: The subliminal versesThe opening is a strange and wistful bit of Beatles adoration that instantly introduces fans to the mature and artistically complete incarnation of Slipknot they are about to experience. For some this may have been an unwanted departure from the fray of the band's previous albums, but for many it was a beautiful renaissance and a harbinger of strange things to come.
62. “Funeral of a Liar” (we're not your type, 2019)
A track like "A Liar's Funeral" shows how Slipknot can remake a sound concept, in this case, the ballad, in their own image. The song is obviously an emotional release from the flowery side of things, with its clean vocals and piano. And yet the chorus spits out "LIAR!" and the death march breakdown that begins halfway through gives the track a unique gut-wrenching power that a typical heartbroken singer simply couldn't pull off. He grits his teeth and tightens his grip.
61. "Purities"(He did not run,1998)
It's interesting that Slipknot left "Purity" off the reissue of their 1998 self-titled album. The song is one of Iowa's most frenetic and psychic, a sparse whirlwind of percussion and DJ jabs with a breathless Corey Taylor moaning with sleepwalking angst, all before it all explodes in a storm of languid riffs. The song encapsulates a side of the band they would later become involved with, that one-two of open space coupled with vicious emotional moisture. Oh well, we remember.
60. “Skeptic” (.5: The Gray Chapter,2014)
.5: The Gray Chapteris known to many for its melancholy, which exists in the songs through dramatic minor chord melodies that evoke the “emo” side of Slipknot. But "Skeptic" is about as kinetic as a Slipknot track can get, with all the stripped-down power of an angry heavyweight screaming into a punching bag. Relentless and unpretentious, it's the kind of music that has kept Slipknot relevant even in the world of bands like Meshuggah and Gojira, a unique beast whose fame will never drive away metal at its core.
59. “Red Flag” (we're not your type, 2019)
What “Red Flag” gets right is noise and speed. The track is Slipknot like a thrash band, without a cloud of samples and fuzz surrounding it. For one thing, it deprives them of some of those disturbing psychological qualities we love so much. On the other hand, it's really nice to be reminded from time to time that Slipknot could only have four or five members and still be an amazing band. Smash a beer, knock over a table.
58. “Lifeless” (He did not run,1998)
Another example of early Corey Taylor rap actually increasing the power of a metal track, while many other bands' attempts to incorporate hip-hop have failed. There's a funny, soulful quality to "No Life" conveyed by its speed and jumping, as well as the dazed breaking of the bridge. Even more, there's a really mischievous jump into the central riff, turning the band into local troublemakers as well as terrifying masked killers. A fun if sometimes less than memorable track from the 1998 debut.
57. “XIX” (.5: The Gray Chapter,2014)
“This song... is not for the living...Shawn Crahan's opening lines to "XIX" send chills down the listener's spine. The opening track ofthe gray chapterIt's as devastating as a song can be. The track is like a dirge of a group of people forced to play at the funeral of his own friend, standing in front of his coffin and begging him to get up and walk with them, even though he can't. Many Slipknot songs are deliberately ambiguous, but it's about a person, and that makes it all the more haunting and surprising.
56. “Metabolic” (Iowa, 2001)
Often, it's Slipknot's artistic side that makes certain songs polarizing or too distant for most. But one wonders if perhaps "Metabolic" could have used a dose of the weird." The track is brutal and intense after an album filled with the most brutal and intense songs most people would have heard at the time, and while the predecessor "New Abortion" feels sickening in its brutality, the follow-up "Iowa" is complete. Far away, "Metabolic" is nestled there like a pebble in your shoe. Not a bad track, just one with perhaps too much brass knuckles.
55. "Child of Burning Time"(There is no hope, 2008)
A track like "Child of Burning Time" demonstrates why Slipknot's clean, slow vocal moments are vital to the band. Yes, singles like "Snuff" might sound a bit cloying to serious fans, but this bonus track packs some pretty hard rock chops. At the same time, at no time does this mean sacrificing kick drum, tremolo picking or turntable scratching; in fact, they blend effortlessly into the flow of the song, making them a perfect backdrop for Taylor's vocals. We are really surprised that this song is not on all the radio stations all the time.
54. “Circle” (vol. 3: The subliminal verses,2004)
Readers of this list may note that, relatively speaking, we're pretty harsh on Slipknot's slower songs and ballads. But "Circle" is an example ofbecausethese other clues deserve such scrutiny. For what it is, “Circle” reigns supreme, with its original lyrical concept and piano accents reminiscent of a dead tree at sunset. slipknothe cansing a cool campfire song and do it with a lot of enthusiasm, and it doesn't have to be angsty or pop. “Circle” is Slipknot's ballad that sets a learning curve, the ultimate example for others to contend with.
53. “A Forma” (Iowa, 2001)
There's nothing like a song that opens with Corey Taylor yelling, "DESTROY!” "The Shape" is a disgusting and disgusting deep cut from 2001Iowa, with the band playing as much death metal as possible. While it's sadly not about Michael Myers, the song has a weight that few other Slipknot tracks could learn. The fact that it comes after "Left Behind," the big MTV single from the album, is especially incredible: Slipknot seems to have lured fans in with this song, then served them a plate of hydraulic trenches for their main course.
52. “Scissors” (He did not run,1998)
For all their hard-earned vitriol, what made Slipknot unique was their brooding, haunting core, and "Scissors" displays that with utter abandon. Where most metal bands try to fill in all the empty spaces, this track plays with the void, Joey Jordison's double bass and Thomson and Root's riffs floating in the oily space before coming together in a seething showdown. And then there's the final chant of "Biding My Time Until the Time Is Right," which builds the tension before exploding in a traumatic wave of babbling and bellowing. While the rest of the world listened to “Wait and Bleed”, the metal community listened to “Scissors” and knew they had found theirs.
51. “Orphan” (we're not your type, 2019)
Of course, Corey Taylor is very present in "Orphan," but this time he definitely takes a backseat to the phalanx that surrounds him. Mick Thomson and Jim Root are doing some deeply menacing shit with their riffing here, Craig Jones and Sid Wilson inject a little more terror behind the ground and thump, and the three-headed Weinberg-Clown-Tortilla drum monster just attacks the listener. with superhuman strength. In fact, "Orphan" could be an instrumental track and just losesomeof the power it wields, which is unique given the frequency with which the letters of n. #8 tend to be the focus of the band's biggest tracks.
50. "If it's rain you want" (.5: The Gray Chapter,2014)
There's something really compelling about Slipknot's more metallic ballads. "If Rain Is What You Want" lands alongside "Vermilion" like this, brimming with sadness and heartbreak while giving Jim Root and Chris Fehn room to make some unholy noise. Although a little, let's say,embroiderywith its poetry and melancholy, the track still carries enough of the band's broken-wrist spleen to put it ahead of some of its peers. Definitely one for a breakup mixtape.
49. “Opium for the people”(vol. 3: The subliminal verses,2004)
You must love this solo for its sneaky, mischievous beat. “Opium of the People” is a strange song, but its upbeat rhythm seems rooted in artistic experimentation invol. 3: The subliminal verses, who often err on the emotionally hurt or punk-in-your-face side. That said, Corey's clean lyrics help, and the 'Sacrament, Sacrilege' breakdown in the middle adds a nice concrete foundation to a weird Slipknot side. Proof that this band really can do anything.
48. “Igor” (He did not run,1998)
"Eeyore" was too good a track to stay a secret. Originally the song tucked away at the end of "Scissors" on the '98 self-titled album, it ended up getting its own track on the album's 10th anniversary edition. You can hear why in the song's utter spite, most notably in Corey Taylor's rendition; the vocalist bellowing, "I'm the loudmouth!" with sickening abandon and ending with a complete and utter collapse. The tangible angst in the song made it a fan favorite, so the band brought this deformed kid out of the attic to meet the rest of his dysfunctional family.
47. “Me inside” (He did not run,1998)
'All over the place' is usually a negative description, but for this song from Slipknot's 1998 self-titled album, it's a compliment. “Me Inside” sounds like an escaped asylum patient running down a hallway, trailing IV tubes and clamps. Sid Wilson and Craig Jones have a standout moment here, with turntable scratches and distorted samples providing much of the track's slippery, frenetic atmosphere. The song is also a telling statement in the entire Slipknot catalogue: most bands would kill to write something so honest, and it still ranks in the top 40 on this list. You will know.
46. "Take this"(He did not run,1998)
“You suck, they suck / Guess what, fuck you / I can't think of any other words to say other than "Fuck you!"'" Poetry. a forerunner ofIowa's “I Am Hated”, “Get This” is Slipknot's punk song, a fast and hilarious tirade against every other band in the world. The sentiment is one that the nine-piece band has been talking about since the beginning, publicly declaring that if they had to listen to any band, they would listen to Slipknot. Though now part of the Iowans' vast catalog of bonus tracks, this song is perfect for those who can't read so many harrowing lyrics about mental illness. Get ready to laugh.
45. “Welcome” (vol. 3: The subliminal verses,2004)
It's better for a band with three drummers to handle a song with just the beat, and "Welcome" proves that Slipknot is up to the task. Every instrument on this track is percussion, used to sustain the convulsive rhythm that runs throughout the track. Even the solos in the middle are extremely unbalanced, showing off that neighing Kerry King vibe, as if Root and Thomson are trying to match their rhythm section shot for shot. As far as extended drum solos go, this is the best there is, and once again reminds the skeptics that yes, yes, there is.it doesThere have to be nine people on that stage.
44. “All hope is gone” (There is no hope, 2008)
HellSIM card. After “Snuff,” fans listenThere is no hopein 2008 they were worried about the direction the album would take, but the final title track ended on a wonderfully angry note. Misanthropic and blast-beat driven, "All Hope Is Gone" feels like the band are saving the best for last, ending with a grim reaper of positivity through crushing realism. The gang's vocal screams in the chorus also give off a sense of unity, as if every one of the nine, every worm in her room, is throwing back their heads and screaming at the sky at the same time. A perfect title for a song that makes us believe in Slipknot forever.
43. “Dear Critic” (we're not your type, 2019)
Many Slipknot songs include abstract comments about the band's constant media scrutiny, but "Critical Darling" seems to tackle the problem head-on. The beauty, of course, is that the track can be interpreted in different ways: is it the mirror Corey sings about being held up by the press, or a loved one he sees his flaws in? Backed by Thomson and Root's blackened riffs, the track shows that Slipknot can juggle nuance and cruelty with ease, and create something incredible while doing it.
42. "Only One" (He did not run,1998)
For all the latter-day vulnerability, Slipknot's 1999 self-titled album is a real chest-thumper, exuding a masculine rage that borders on sickening. “Only One” is that personified, its white boy rap verses combined with furious, goofy connective tissue. Then there's the choir, abandoning the invitations toincreaseolook what happensto the simple statement, "Only one of us is leaving." The lyrics are indicative of Slipknot's basic tenet: they may be weird, gross, unusual, and easily mocked, but try to mess with them and you'll get your severed head fucked in the street.
41. “Solway Estuary” (we're not your type, 2019)
Of course, the introduction to "Solway Firth" makes one wonder why Corey Taylor decided he's from every country in the UK at once. But when the end of 2019we're not your typekicks, does it right on your sternum. Vengeful and final, the song is a perfect album finale, matching the tracks' melodic excitement and unrelenting rage before slamming the table. While perhaps not as sprawling or extravagant as the band has made final tracks in the past, "Solway Firth" certainly brings a fitting end to this epic chapter in Slipknot's discography.
40. “Iowa” (Iowa, 2001)
Every band needs an epic, and for Slipknot that will always be "Iowa," the title track from their career-changing 2001 album. Clocking in at over 15 minutes, the song is a full-length examination of the visceral hatred and broken desire that colors all of Slipknot's music. While some might think the gang's strength comes from their short, sharp chokes, this track proves these guys can hold their own against time travelers like Neurosis and Rwake at any moment. The fact that the track opens with the words "Calm down, it's over" feels like an especially sick joke towards the end.
39. "Killpop" (.5: The Gray Chapter,2014)
At the end of the day, "Killpop" is exactly what it claims to be: an infectious track about hands closing around a throat. While the song has an air of sentimentality, it's also a Slipknot track, so his sweet cape is made of sexual fluids and obnoxious sweat (as if one would expect anything less than the best of Des Moines). As such, it's the closest the band has come to true pop music, and a fucking Slayer level for anyone who wants to put them on the radio.
38. “New Abortion” (Iowa, 2001)
“New Abortion” was a precursor to tracks like “Nero Forte” in that it wasn't a single that instilled fans with a bigger life than some might have expected. Ugly in its fury and buoyed by some especially gruesome yet inspiring lyrics from Corey, the track is a mix of body horror and mosh-pit stomping, appealing to dirty hearts and cracked alike. The central refrain of "You can't take my soul" is also central to Slipknot's ethos, that one's spirit cannot be stolen, no matter how hard the world tries. This is where the line is drawn.
37. “Sarcastrofe”(.5: The Gray Chapter,2014)
“Sarcastrophe” is the perfect true opening song forthe gray chapter- a return to the band's roots without sacrificing any of its growth, all wrapped in a cloak of unhealthy life. This track sounds like the specter of death was pushing the band that made it.Iowathey returned to their seats, letting them know that despite their powerful dysfunction, they too were mortal. The riffs moan miserably, the melodies ooze minor-chord disgust – it's all so deeply uncomfortable in its brutality, displaying the nine's confusion and vulnerability for all the world to see.
36. “Three zeros” (vol. 3: The subliminal verses,2004)
Man, can you hear that opening?WHRRRR dun dun dun, na-nanna-na- And not start beating his chest like some kind of primal cultist? “Three Nil” is another unexpected gem for Slipknot, a hookless track that on paper shouldn't be a fan favorite. With a healthy dose of frenetic mathcore and some fan Easter eggs (I love the memory of Corey's "Eeyore" calling himself 'the big mouth'), the song is a powerful statement for a band in their third year. . the thought would simply dissolve into a cloud of trickery. The message is clear: we have three records and we're not going anywhere.
35. “Gematria (The Killer Name)” (There is no hope, 2008)
“The time of the nine has begun / Get out of the way or you will suffer as one!The 2008 opening trackThere is no hope- in tributethe Hebrew concept of alphanumeric assignments representing larger concepts- is Slipknot's battle cry, a defeat without limits. With the renewed confidence of a band that has somehow survived for ten years after breaking into the mainstream, this nine-headed nightmare declared their dominance with a burst of battered, unsympathetic fury, the kind of relentless pride that can only happen , fester and prosper in America's heartland. Many of Slipknot's tracks are filled with emotional abstraction, but this one spells it out pretty clearly: You're in our world now.
34. “Left Behind” (Iowa, 2001)
Listening to it now, it's fun to think that "Left Behind" was Slipknot's debut single in 2001.Iowa. Those around the band will have seen the similarities between this song and the 1999 hit "Wait and Bleed," with its clean/harsh vocal dichotomy and infectious melody. But "Left Behind" is much sicker than "Wait...", emanating much more of the biting, desperate attitude now considered the band's trademark. Even the video, featuring Slipknot performing in a swamp of mist (and boy, was it a nu-metal video, there was always some damn ki bullied), feels like a mockery of MTV challenging them to show the world what they're all about. the polished rap-metal scene was giving way.
33. “742617000027” (He did not run,1998)
How did a sampler/intro track make it to the top 40 Slipknot songs? Because it is a decisive moment in the history of the band that would mark its public image forever. The screeching noise of "742617000027" layered over the repetitive, distorted sample of "THE TODO I THINK IT'S SICK" immediately let everyone know that this group of costumed thugs weren't just here to please would-be suburban dudes, they were immersed in in the noise. , outrage, and the seething subconscious beneath America's fragile mask. It only took Slipknot thirty-six seconds to be afraid of them.
32. “AOV” (.5: The Gray Chapter,2014)
both of.5: The Gray Chapterit's a sticky cavern of mourning for bassist Paul Gray. But “AOV” feels like the other side of the coin, a flash of anger that comes out of that sadness. The lyrics seem to be directed at Gray's and the band's drug use for not doing something sooner; a line like "Put your face on and show me why / behind the scenes we had to just obey" breaks a listener's heart when considered in the context of the making of this album. When Slipknot is sad and upset, he usually engages in metaphor and experimentation, but when he's really upset, his true colors come out.
31. “Prosthetics” (He did not run,1998)
There are a handful of songs that make Slipknotfrightening, and “Prosthetics” may have been the first. Cicky and psychedelic, the track features nine guys expressing their feelings at the same time, with each instrument sounding nastier and sweatier than the last. Even Craig Jones, normally the band's horrible silent party, can be heard in the little screams that accompany the song's more deranged sections. All the while, Taylor sings as if he's underwater, until the chorus has him hitting the side of his head and lamenting the terrible decision in the center of the floor. What a psychopath would listen to while he masturbates.
30. “Birth of the Cruel” (we're not your type, 2019)
One might not think of Slipknot's slower songs as terribly appropriate for the mosh pit, but "Birth of the Cruel" proves that idea wrong. Grunge-y and midtempo, the song has a pendulum that's made for stomping on a slippery beer floor. Meanwhile, the bass-heavy verses are sweaty tension builders, leading to the chorus breaking down. The result is music that no one can stop wanting to play. Broken nose? Wipe it on your face.
29. “Vermillion”(vol. 3: The subliminal verses,2004)
Slipknot's passionate moments often go one of two directions: you feel a rush of raw hatred or a quagmire of emotional pain. But "Vermilion" is somehow both and neither, a crushing, heartbreaking song about being afraid of your own obsession. The spooky haunted house moments and melancholic guitar give the song a romantic undertone, but the percussion behind them is harder than ever. Corey Taylor's singing chorus of “I won't let this grow inside of me” is finally offset by her tearful cries of “She's not real! I can't make it happen! A new definition of 'lovesick'.
28. “Revenge” (There is no hope, 2008)
The power of "Vendetta" is that of the Slipknot live show. This mid-tempo pattern from 2008There is no hopehe smells like Pied Piper, inviting fans with his hop and roll to come forward and bang their heads against the stage. The fact that the main line of the chorus is "Are you ready for the time of your life?" followed by a springboard chant seems to confirm this, with Slipknot calling for everyone to become "another fucking accident, out of control". In that way, it could be the closest thing the nine have to a feel-good track, fanning the flames within the hearts of all cave dwellers and maniacs.
27. “Ratty and Torn” (He did not run,1998)
It makes sense that "Tattered & Torn" would be one of the tracks that immigrated from the band's first official release.Friend. Feed. Kill. repeat., because it illustrates what Slipknot was supposed to be in its first incarnation. Crazed and out of harmony, swinging wildly and screaming into the listener's ear, the track is a dizzying display of how the band have always tried to push the boundaries of what the typical rock fan is capable of appreciating. You might be wondering if other label execs heard this song and wondered what Roadrunner VP Monte Conner was thinking about signing these nine guys, but here we are now, writing about "Tattered & Torn" and not the singles. hits from other bands.
26. "The Negative" (.5: The Gray Chapter, 2014)
Slipknot had something to prove following the death of bassist Paul Gray and the departure of founding drummer Joey Jordison. But "The Negative One" quickly silenced all doubters with its relentless fiery rattle and blast. Between its non-stop groove, Corey Taylor's introspective lyrics, and Sid Wilson's jerky DJ strumming, the track feels like Slipknot stripped to its most vital parts, an emotional explosion of rusty keys, divorce papers, and spit. This was a moment where everyone expected Iowans to fall flat on their face, and instead they stood their ground and got back on their feet.
25. "No Eyes"(He did not run,1998)
Even as longtime Slipknot fans, we have to wonder: what the heck is going on with “Eyeless”? Is this song a commentary on Hollywood or the band's attempts to reconcile their small-town upbringing with their big dreams? More importantly, how can a song that sounds so strange and mysterious be so catchy? From the basic first beat to the hideous riffs at the song's opening, "Eyeless" grips the listener, immediately drawing them into the world of these nine men in overalls. I think it just takes the right kind of eyes.
24. “I am hated” (Iowa, 2001)
Nothing is more fun than Slipknot when they're feeling strong. despite 2001Iowashowed the nine pieces delving into much more traditional metal territory, it also included their poisonous and mocking song, "I Am Hated". The song is a proud statement that these guys weren't the radio-friendly, macho rap-rock bands they were being lumped in with, which is made clear by Corey Taylor's lyrics like: "Everyone lost their dad or their wife just died or never left the house/Shut up/No one gives a shit/Doesn't change the fact that you suck.” Of course, all this grudge is set to a party riff, proving that Slipknot can shit on you while making their genre of music sound better than you.
23. “Custer” (.5: The Gray Chapter,2014)
If any clue in.5: The Gray Chapterseems like an honest expression of where Slipknot was after bassist Paul Gray died, it's "Custer." The song is a venom-filled release, the band directing their anger where it hits the hardest: themselves. the chorus ofCut, cut, cut me / Fuck, fuck, fuckhe comes out as an angry commando, begging the world at large to finally put these nine tortured maniacs out of their misery. No wonder this one was nominated for a Grammy, although one wonders who voted for it at the Academy.
22. “Diluído” (Slipknot, 1998)
Slipknot's massive success is impressive, but it also means that some of its brightest gems remain buried. “Diluted” is track 12 of the band's 1999 self-titled debut, and yet it's one of the catchiest, most infectious, and most honest songs on the album. A dirty thrash riff gives way to the marching rhythms of Fehn and Crahan's gallows drums, which sends Taylor deeper and deeper into a whirlwind of anxiety, until she spits out the refrain: "What the hell did I ever do to you?" deserve all this?" A song worth revisiting, because once you do, you won't be able to stop listening to it.
21. “Disastrous Game” (Iowa, 2001)
“I want to cut your throat and fuck your wound.” Never Forget Slipknot Started A Song With These Lyrics In 2001Iowa, as if the concerned opening of "People = Shit" didn't scare macho fratboys and gangster wannabes enough. “Disasterpiece” also finds the band going all out on blastbeats, Joey Jordison filling the chorus with a non-stop racket of black metal drum fills. Overall, it might be Slipknot's toughest song, if not their heaviest, a metal frenzy that only seeks to alienate and destroy. What can we say? People make noise when they are sick.
20. “Cusp” (He did not run,1998)
“Spit It Out” is probably Slipknot at their most conventional rap-rock form, and it's the song that landed them a deal with Roadrunner Records. But to this day, it's a direct, biting example of how hip-hop-flavored metal at the time could still be exceptionally heavy, with Corey's chatter and Mick's riffing sounding distinctly more underground than gangsta. At the same time, this song is undeniably the band's interpretation of that genre at the time, complete with its own 'Jump the fuck up' moment at live shows. There's a reason Slipknot was considered nu metal, but there's also a reason they survived the genre.
19. “The devil in me” (.5: The Gray Chapter,2014)
All year 2014.5: The Gray Chapterlives in the turbulent emotional hurricane of Slipknot losing bassist Paul Gray to addiction. “The Devil In I” sounds like the band was trying to incorporate that heartbreaking atmosphere into a single track. Cloudy and heartbroken, “The Devil In I” flaunts a hard-hitting rage that seems to have a purpose, while Corey Taylor's clean vocals sound more pained than polished. Although it's the lead single from an album that showcases Slipknot's new, more stripped-down direction, the song remains a milestone of aggression in their career, illustrating just how ugly it gets when the manic hivemind loses one of their own.
18. “The Nameless” (vol. 3: The subliminal verses,2004)
Slipknot's recurring theme of love as an unhealthy form of possession reaches its frenetic, nihilistic peak on "The Nameless," an often anonymous and utterly devastating deep cut from the 2004 album.vol. 3: The subliminal verses. With its breathy, seizure-inducing verses, vocals from multiple personalities, and an unbelievably honest chorus: “I never loved anyone more than I loved you / The only thing I really loved...— this song is a beautiful nightmare, an eruption of all the unfair and abusive emotions that come from meeting the person who drives you crazier than you ever thought you could be. So incomprehensibly repulsive that they literally couldn't think of a name.
17. “Espere e sangre”(He did not run,1998)
"Wait and Bleed" was the first Slipknot song most people heard, which is a telling statement about what the band considered a "single" when it first came out. The song's chorus is undoubtedly catchy, but the melody at the song's center only works in the context of the band's poetic dysfunction. While their mates were rapping about trimming and Molly, these nine vomit-covered doppelgangers were having a sweet shit fit about cleaning the rock of the leaves and wondering if this was a dream or a memory. Many songs get stuck in the listener's head; this band dug deep and made people sick.
16. "Before I Forget"(vol. 3: The subliminal verses,2004)
anyone who heardvol. 3: The subliminal verseswhen it first came out, he heard "Before I Forget" and immediately recognized it as a great single. The song has an undeniable appeal, its central riff and vocal pattern drawing the listener in whether they like it or not. Taylor's lyrics are also life-affirming (in the style of Slipknot), making them an anthem for anyone who's heard them. That plus the infamous 'unmasked' video gave Slipknot a humanity the band craved after two albums behind the mask. Sometimes even slashers need to come out of the shadows.
15. “Not Saints”(We're not your type,2019)
Too often Slipknot are a circus, what if this time they're a church? That horrible concept runs through the full anti-religious power of "Unsainted," the album's massive first single of 2019.we're not your type. Corey Taylor's opening vocals make him sound like a lonely choirboy, and then he summons an inverted cathedral from the ground with the help of a chorus of ghosts. With the eyes of the whole world on them, Slipknot had to make sure they served 2019 with something big, scary and new; with “Unsainted”, they did not disappoint. This is his body, this is his blood.
14. "Pulse of larvae"(vol. 3: The subliminal verses,2004)
Usually a band writing a song about their fans will include cliched lyrics about putting their hands in the air and how they wouldn't be here without you and all that shit. With "Pulse of the Maggots," Slipknot wrote from the point of view of their fanbase, a group of people whose anger and pain lead not to disenfranchisement but to motivation. This not only sets Vermin apart from most fan clubs, but also puts Slipknot in a class of its own, believing in the potential of their fans, in their ability to fight back against society at large. It boils down to a single battle cry against the apathy of the world: "And if I lose at least I tried!”
13. “The bubble exists” (vol. 3: The subliminal verses,2004)
Put this one in front of the right audience and watch as the whole room starts playing that drum solo. 2004vol. 3: The subliminal versesIt was a massive album for Slipknot, but opening it with this song was a brave move, given the number of eyes on them (and how catchy and friendly many of the other cuts on the album are). Slipknot walked out the door as the upbeat drum line the walking dead have always alluded to, so comfortable in their sound they're willing to throw it right in your face at its most abrasive. A rare moment when Fehn and Crahan take the front seat shows exactly why this band wouldn't be the same without them.
12. “Free” (He did not run,1998)
If "Spit It Out" is Slipknot at its most rap-metal, then "Liberate" is its essence. The track is fast, alternating between basic percussion and almost upbeat riffing. Here, Corey Taylor displays not only his signature growl, but his incredible vocal patterns as well, using every syllable to help fuel the unstoppable speed of "Liberate." As a result, the track feels like a hole you can't climb out of, but eventually plunge back into with reckless abandon. Go listen to this song, you forgot how much you love it.
11. "My plague" (Iowa, 2001)
Listen to "My Plague" and you might hearseeds, not just of future Slipknot material, but of the transformation of metal as a whole. Yes, the song's mix of punishing wails and beautiful clean vocals would inform many of the band's releases from then on, proving to all that an injection of pop sensibilities into this loud noise could be a wonderful hit. But his guitar tone is also pure slam, and is reminiscent of one of today's ultra-heavy bands like Vein and Code Orange, whose 'modern nu-metal' designations are often traced back to music like this. Today we see the roots system of “My Plague” throughout the genre, but back in 2001 it was just a beautiful pod unfolding at a deadly pace.
1st "Strong Black" (we're not your type, 2019)
It's incredible when a record comes out and the publicdemandsa song deserves This was the case of “Nero Forte” in 2019we're not your type, an instant fan favorite that put its stamp on the minds of all who heard it. Twin guitar work from Thomson and Root instantly seizes the listener's heart, while Taylor's raspy clean vocals blend masterfully (damn that good is that slip).much animosity” in the second chorus?). Slipknot can obviously write big radio singles when they want to, but this time they just decided to write a smash-kill-destroy metal track, and the worms did the rest.
9. “Sulfur”(There is no hope, 2008)
ByThere is no hope, Slipknot were struggling to find a balance between their extreme metal stomach ache and their ultra-tasty hard rock march. The perfect quote from him is “Sulfur”, a song that he seems to have learned fromIowawithout ever pretending that it could be on that album. The whole band is at work here: Sid's DJ flashes, Shawn and Chris's rumbling collapse, Mick's sweet meandering solo working his way through the middle, and yet it doesn't sound like the disconnected rumble of previous releases. This is Slipknot as a unified force, not just making noise, butwriting a song, and that shows us.
8. “The Heretic Anthem”(Iowa, 2001)
“Nobody wants anything I have –Which is good, because you're made of everything I'm not!That line alone makes "The Heretic Anthem" a banner that Slipknot will always wave high and fast. The track embodies the deep sense of identity of Iowans.thatwhile the rest of the world droolsto be.Othe concept fills every crack from 2001Iowa, an album apparently made to free themselves from the shackles of the refined and macho world of nu metal. In that sense, this song is one of the band's most life-affirming songs, even as it crushes listeners' bones with bass rolls and fat riffs. Crunch the numbers.
7.“Psychosocial”(There is no hope, 2008)
Sometimes it's good to remember that one of Slipknot's most vital minds is a clown. "Psychosocial" moves to a circus-like beat, conjuring up an image of the most gruesome parade making its way to the most stained big top imaginable. The charming accents, pauses, and screaming chants of the title sound like the soundtrack of spinning, fire-breathing acrobats, all with masks sewn to their faces and used condoms stuck to their feet. Even Mick Thomson's revolving solo in the middle has an atmosphere of total entertainment. An unforgettable ear, the song will forever form the unorthodox 2008 album.There is no hopeone of the band's most vital recorded freakshow albums. Roll up, roll up!
6. “People = Shit”(Iowa, 2001)
Have you ever heard a band reinvent themselves in six seconds? With the opening theme of “People = Shit”, the first song from the 2001 album UnconquerableIowa(Happy birthday pretty bastard), Slipknot managed to rip and piss in the shallow rap-rock range that so many critics have placed them in. Instead, they unveiled a mix of death metal, noise, sludge, and million-ton drops that put even the heaviest of rap and electronic beats to shame. References to Satan and violence abound, all tied together by the band's proprietary catchphrase, which once reeked of suburban smugness and now took on the full weight of misanthropy from him. You can't be everything to everyone.
5. “All life”
On Halloween 2018, Slipknot decided to let the world know that they were back and had no time to mess around. That came in the form of "All Out Life," an indie track that not only erupted with the inimitable power and darkness of the nine, but confronted their legendary status with a frown. Instead of trying to recapture their glory days, Slipknot seem to be throwing old photos into a burning trash can, with Corey Taylor sounding more like Number 8 than ever as he thunders: "Old doesn't mean dead / New doesn't mean better”(he even seems to address the old manWhat does Corey Taylor think?barking meme, “I'm tired of being right in everything they tell me!”). Although the track does not appear on the 2019 album.we're not your type, provided the album title, and honestly, with this amazing music, there was no need for a wraparound album. No apologies.
4. "Everything Ends"(Iowa, 2001)
What puts "It Ends" so high on this list is its humanity. For the most part, Slipknot songs seem to be about, well, everything: belief, disgust, society, the mind, that dead animal you saw on the side of the road. But that song from 2001Iowait's very person-to-person, and as such, it takes the detached grandeur out of things and puts the listener right in the sweaty, insecure body of the protagonist. Of course, that doesn't mean it's any less apocalyptic, if anything, Corey Taylor screaming: "This is the end of everything, you are the end of everythingit is a collapse more tangible than any heralded horseman or mushroom cloud, a fall that is well known to all.
3. “[sic]” (He did not run,1998)
If you became a metal fan between 1999 and 2002, you will have memorized every word of this song. The opening of the band's mammoth 1998 self-titled release, "[sic]" introduced the world to a new kind of band, a hydra of angst, instinct and experimentation, instantly erecting themselves on a pedestal your average rap rock group never has. would reach. reach. . This searing blast of death metal, groove and mathcore changed the game the moment it reached listeners' ears, asking the most important question: 'Why listen to a band when you can hear what each band sounds like, having sex? among them? ? In the alley back there? Press your face against the glassSUFFER.
2. “Duality”(vol. 3: The subliminal verses,2004)
Let's drop the flowery language of music journalists and say: "Dualidad" is perfect. The lyrics are smart, the riffs are beautiful, that's crazy.THINKwhen Clown hits the barrel it's amazing, and each chorus is better than the last. It's a song both musically and lyrically about what every metal fan has felt at some point in their lives, sitting on a sidewalk, bench or hill with their heads down and wondering how the hell they're going to get through this.again. This is a song you want to sing to, whether you're in the mirror in your bedroom or at a bar with all your friends. It's a song you can listen to over and over again for days. It's perfect. End of story.
- "Surface"(He did not run,1998)
It's almost bewildering how a band can write one of the most damning and vindictive songs of the late '90s and make it more relevant today than ever before. “Surfacing” sounds almost barbaric next to any of Slipknot's latest singles, but what it lacks in the band's more recent nuance and poetics, it makes up for in unadulterated bile. The haunting spasms of guitar, pounding drums and recorded scratches of the intro give way to a song that sounds like two nightmares rubbing wounds, while Corey Taylor sounds like someone stuck a microphone in his head. head during a panic attack. . The end result is the ultimate expression of the drive that sets you in motion, that side of yourself that has finally decided, you know what, fuck everything, fuck this world, fuck everything you stand for. Everyone rises to what is still their new national anthem.
words ofChris Krovati