[6/10] Slipknot, the biggest thing since corn and Dan Gable to hit Iowa, returns with their fourth studio album All Hope is Gone. The said album offers fans new surprises, most of all—new masks. Since the nu metal explosion, Slipknot’s masks have always set them apart from the other trend-seeking bands. The jump suit garbled, clown-and-dead-skin-mask themes of past disguises receive an elaborate makeover, resulting in disguises that bring a greater sense of identity to each member. Clown received a hardcore S & M look, Paul and #7 wear masks seemingly inspired by Hannibal Lecter, and Joey’s crown of thorns theme has could wear the tag Franken-Jesus or Jesus-Stein. Also, the album’s booklet depicts the group sporting the bizarre, giant-sized Purgatory masks.

More important than the group’s macabre makeovers is the album’s music. Sure, All Hope is Gone contains all the elements that brought fans to their music in the first place such as down-tuned guitar breakdowns, a huge, two-sided drum attack, electronic sampling and Corey Taylor’s characteristic clean and hardcore vocals. However, like the bulk of their modern peers, the nu metal aspects are quite slight.

“Gematria (The Killing Name)” begins on a half thrash, modern metal note. The drums are particularly powerful, moving between stop-and-start bashing, quick rolls and fills and double bass taps. Midway through the track, Mick and James trade off guitar solos. The pair’s riffing contains aspects allocated to many of modern metal’s guitar heroes such as thrashy riffing and harmonic squeals.

Throughout the group’s career, I have heard Slipknot’s fans hyper-inflate their heaviness, but I really have not heard it until now. The track “Vendetta” is the closest Slipknot has come to playing death metal. The rolling double bass and abysmally-tuned guitar nearly resemble Morbid Angel. “Vendetta” may be the first offering to the gods of grind and death, but it’s not their last. Just take a listen to the title track. Jordison seems to miss his time with Satyricon, blasting hundreds of beats per minute faster than anything on the radio.

Although All Hope is Gone contains many new elements, especially in style, it still retains the sound that fans have come to associate with the band. The choppy, jumping breakdowns appear often. One of the heavier breakdowns comes during “Psychosocial.” #5 brings the electronic vibe to many of the tracks such as the bubbly scratching on “Butcher’s Hook” and the spooky backdrop on “Gehenna.” Above all, tracks like “Dead Memories” and the harmonious “Snuff” are built around Corey Taylor’s clean, platinum-selling voice.

Slipknot deserves at least a few kudos for stepping away from the mainstream to play styles that really aren’t meant for the radio. This “extreme makeover” should gain them more credence in harder metal circles, but it may become a bit too much for the mall metal crowd. I have already heard many long-time fans of the group talk about the newer material with uncertainty (hearing Corey Taylor apply his harsh voice to black metal riffing and blast beats is a bit baffling). They are turned off from the updated and revamped sound of the group and seek the mid-90s, trend friendly, packaged-at-your-local-shopping-center Slipknot. Get over it! Nu metal is dead and All Hope is Gone proves it!

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