.5: The Gray Chapter, a vigil that Slipknot have invited the world to congregate for. Not only this being the first album since the tragic passing of Paul Gray but also the first without integral cog that is Joey Jordison. Add to that its the first record in the last six years which for any band is a long abscence, the Iowan’s certainly have their work cut out for them. Slipknot essentially had to deliver an album that was nothing short of a miracle.
Throughout .5: The Gray Chapter, Slipknot showcase some of their most mature material to date, opening with “XIX” with the masterful use of samples its a perfect introduction setting the tone for the record. With the use of samples becoming our compare throughout the record reappearing as we slowly delve further into the album. Sonically the band cover all bases and more, our resident big mouth Corey Taylor takes on the personality of Jekyll and Hyde throughout the album. Being able to write such cut throat, self loathing lyrics whilst delivering them in his inimitable style. The ferocity of “Custer” would sit perfectly among any of Slipknot’s madness that was the 1999 self titled debut. The imminent sense of danger is ever present throughout. Although just as quickly as its summoned so is it dispersed.
With potentially one of Slipknot’s best songs “The Devil In I” repeats the cycle of the now infamous “Psychosocial” revolutionising Slipknot’s identity in just one song, the perfect single. Followed closely by “Killpop” a love letter to “Vermillion“, an eerie sense of melancholy is conjured by the warped clean guitar creating a blanket of uncertainty, ensuring that although the songs chorus is fantastic, retains a certain darkness and unpredictability, mirroring madness. “Sarcastrophe” utilizes much of the same techniques, with the haunting guitar introduction we’re then led into what modern day Slipknot sound like. By having such a long time span between the release of their last album, many people will believe that the band present an amalgamation of previous sounds. This is true to a certain extent, but make no mistake this is how Slipknot sound in 2014. “AOV” being a prime example, percussionists really coming to the fore the riff heavy tune is given so much texture, simultaneously proving that Crahan’s onomatopoeic beer keg bang truly hits home. The aggression continues with “Lech” where Taylor spits his lyrics transforming back into his demonic alter ego.
Although some of the material is cloaked in metaphor “Skeptic” specifically is the cathartic output of the band. With the chorus of “The world will never know another man as amazing like you” is a fitting effigy to Gray. Therein is the genius of Slipknot’s writing process with “Goodbye” the band seamlessly move from sombre ballad to “Nomadic” giving the effect that both songs combine which can be said for the entire album. Fluid song writing, whilst giving each song their own identity. Creating a narrative with the return of our distorted ringmaster in “Be Prepared For Hell” before Slipknot’s last gasp in “The Negative One” satisfying their aggressive edge with a deeply unsettling introduction. Rounding off the chapter is the austere “If Rain Is What You Want“. Their latest offering is almost faultless, my only gripe, albeit a small one is the production. On occasion it can be slightly muddy, hindering the delivery of some aspects of the record, bar that nothing.
Grief can manifest itself in many different ways, although the passing of Paul Gray was tragic it was a catalyst for some of the most raw, unfiltered and unashamedly honest music. With .5: The Gray Chapter, Slipknot have proven to the world that they are immovable, throughout all the trials and tribulations the band stand tall overshadowed only be the colossal weight of this fantastic record.
