KONTAK PERKASA FUTURES - When Slipknot reunited after a long hiatus, everyone seemed eager to
work together. But soon after they entered the studio with producer Dave
Fortman, it became clear that
All Hope Is Gone would
definitely not be the band's first conflict-free album. Frustrated by
the relative lack of experimentation in the music, Clown, Jim Root, and
Sid Wilson withdrew and began working on their own ethereal and
psychedelic material in a second studio.
KONTAK PERKASA FUTURES - They hoped their creative
excursions would be included on the record, but all but one song was
shelved, leaving Root and Clown angry and feeling somewhat
apathetic—which doesn't mean the disc doesn't rip. Indeed, one listen to
the anti-government "Gematria (The Killing Name)," the blast beat– and
gang vocal–saturated title track, and the lumbering "Gehenna," as well
as more commercial songs like "Psychosocial" and the largely acoustic
ballad "Snuff," proves the contrary.
COREY TAYLOR I was on Family Values [
Tour 2006]
with Stone Sour and I was miserable. I was watching all these bands
make $20 and having the time of their fucking lives. They're going on in
the middle of the day and there's no one there, and they're just going
for it. And here I am, third from the top of the bill, and I'm fucking
miserable. I went, There's something fucking wrong here. I used to live
to do this. I used to kill to do this. That's when I really started to
focus again. This whole time I thought my biggest problem was with the
shit around me. But there's something inside me that's not right and
that's affecting me, and all roads led back to my marriage. Walking away
from my wife was the best thing I could have done. I realized I needed
to stand on my own and figure out who I am and I did. It was the
toughest step I've ever taken, and I went through a year and a half of
hell and came out on the other side reborn bigger and stronger. I
started writing lyrics for
All Hope is Gone in the middle of
the Stone Sour tour cycle. I sat down and filled notebooks. I started to
feel hungry again and I wanted to make another Slipknot album. I hadn't
felt that way in years.
JOEY JORDISON After I demoed the record with Paul, I found out a bunch of stuff [
about my ex-girlfriend].
It was a really bad relationship and made me almost want to kill
myself. All I could do is fuck myself up. I shut the lights off, didn't
answer the phone, put powder up my nose, and got drunk for three weeks. I
didn't eat. I was almost fuckin' dead. People were like, "What the fuck
is going on with him?" Then my dad broke down my fuckin' door and I'm
scared shitless of my dad. Period. He's the hardest motherfucker, ever.
PAUL GRAY Recording the album in Iowa [
at Sound Farm Studio]
was good because we were away from L.A. and all the hangers-on. We were
on a farm in the middle of nowhere and there was nobody in our face. We
wrote and recorded the record faster than any we've ever done. Me and
Joey demoed songs in October. And we started preproduction in January.
We were in the studio March 1st and we were out by the end of April.
JORDISON
I tracked all the drums myself by myself because I wrote the basic
skeletons of the songs and we only practiced for a week and a half. Some
people were still trying to figure out the songs, so I said, "Fuck it,
I'm gonna do it myself. Roll tape, now." That caused a lot of problems
in retrospect, but I knew exactly where the songs were gonna go. So I
said, "Lemme just do it and concentrate on the parts myself." I tracked
everything in three days.
JIM ROOT When we first started the
record, things were a little spread out. We didn't do as much
preproduction, we didn't do as much rehearsing and writing together.
Joey and Paul didn't have quite as many songs demoed out as they did
before. When we did
Subliminal Verses, Paul and Joey had
written 16 or 18 songs. This time, they only demoed five or six songs.
So there was a clock ticking above our head. We had already agreed to do
the [
2008 inaugral Rockstar Energy Drink] Mayhem Fest, so we
knew we absolutely had to be done before the tour. It felt like we had
to throw a lot of things together for this record, plus we recorded way
different than we recorded
Iowa or
The Subliminal Verses.
It wasn't nine guys in a room hashing things out and letting them
evolve. We didn't have time for that. Joey tracked the entire album
without playing along with the band, and I was extremely worried that
wasn't going to give this album the push and pull that a Slipknot record
needs. Because Joey's tempos are usually moving around and pushing us
to push the guitars this way and the bass that way. And then Sid [
Wilson]
might come up with something that could spark a whole new song idea. We
didn't get the chance to do any of that. Hearing it after it was mixed,
I felt like, OK, this is a particular chapter in our book, but it
doesn't mean the next one will be this way.
SID WILSON
We never got together as a full band, which was very odd. The album
really happened in segments and pieces and separate from each other. I'm
always down to create with all my brothers and I always put the
invitation out there, but everybody had their own reasons for separating
themselves from everyone and, in turn, it created
All Hope Is Gone.
GRAY Everything seemed bigger and better and less
dysfunctional. Before, if someone was pissed off about something, he
held it in and just stew in it. Now it's like, "Hey, let's fucking go!
I'm fucking pissed, man! Why did you do that?" And we get the problems
hashed out right away. I love everybody in this band. They're my fucking
family. But families fight. And when you hold in shit and start
resenting people, it can turn really ugly... We all speak our minds now
more than we used to.
TAYLOR
My whole goal for doing this album was to say everything that I've
always wanted to fucking say and to use at least 15 types of voices. I
wanted to push every boundary and I think I did. To me,
All Hope Is Gone
is a very positive thing to fuckin' say because hope means
expectations, and when you give up expectation, you embrace what's going
to happen. You're never going to be let down. I think hope is the death
of dreams, honestly. Because what if your dreams come true and they
don't live up to your hopes? All of a sudden your heart's broken for no
reason. Also, the title is a reference to the listener. Any hope you had
of trying to figure out where we were gonna go is completely gone
because you'll never figure us out. If you just stop trying to figure us
out and just embrace the fact that we are always going to try to twist
the boundaries and surprise you every time, you'll enjoy it even more.
GRAY Some of the songs are the heaviest we've ever
written. Some are the most melodic. Some are the most emotional and
musical. It's really cool. You can only do so much with writing blazing
fast heavy songs your whole career but you just wind up painting
yourself into a fucking corner. We can do a song with piano and Corey
singing and we can put it out as Slipknot and people will hear it as
Slipknot. And that's what I'm actually really stoked about. The future
is wide open now, whereas during the
Iowa cycle, it seemed like we were painting ourselves into a corner.
TAYLOR The highlight for me was when I
heard "Snuff" for the first time all together. It was a very personal
song for me, and it was one of the two songs I actually wrote myself and
brought in. And when I heard what everybody had put on it, I just
started bawling. It was so gratifying. Right when I finished that song, I
was in a fucked-up headspace and all of a sudden Clown comes up behind
me with his fuckin' camera. Meanwhile, unbeknownst to me, Jim is behind
me with a gigantic wheel of firecrackers. Clown goes, "No one is safe,"
and suddenly Armageddon goes off behind me. I get up afterwards and I'm
pissed, fucking livid. And in retrospect, it's fucking hilarious, but at
the time I was furious.
ROOT On the days Mick and Paul weren't there, Clown
and I would go over to the other house and write all this other music.
One of the songs, "We Die," made it on the record, but most of them
didn't. They're a little bit more experimental, a little bit more
cerebral. It was fun and Clown and I were able to do things like record
frogs and then write a song around the way the frogs sound. We put Corey
down in a well and had him sing and it sounds like he's in a cavern. I
was able to approach guitar not with straightforward power chords or
modal riffs, but as a different instrument entirely and I really liked
that. Will it ever come out? I don't know. Will it end up being
Slipknot? I don't know. Some of it could.
WILSON
I had a really good time writing with Clown and Jim and Corey
old-school style. The thing is, Jim, Clown, and Corey wanted to push our
boundaries a little further, and other guys weren't ready to do that. I
thought [
producer Dave] Fortman would have been a lot more
involved. And I called Joey repeatedly and asked him to come write music
with me at my house but it didn't happen.
JORDISON Sid, Shawn, and Jim did that stuff. It has
nothing to do with the band as far as I'm concerned. I haven't even
heard it so how can it be Slipknot? But while they were working over
there, it got pretty heated. Like, "What the fuck are you guys doing
over there? The shit's over here." But you can't tell a painter not to
paint.
SHAWN "CLOWN" CRAHAN Fortman
was bad for Clown. Bad, bad, bad, bad, bad, bad, bad. I sat in the car
with him and played nine songs I wrote for this band. He said four of
them are worth a shit. I don't care. I'm a writer, man. I'm serious and I
wasn't before. I don't want anyone thinking I'm mad at Fortman—I'm mad
at this record. The record's phenomenal. Much respect to Dave Fortman.
It sounds fantastic. But it doesn't do shit for me because the art's
been lost. The other shit we did should have gotten the time of day and
it didn't. One of those songs is out there, but it's all beautiful and
the rest of it is not there right now.
MICK THOMPSON It just didn't make sense as Slipknot.
But every musician has so much more shit in them. You can't put it all
on the same record. It just doesn't work. It would be too eclectic. We
all do all sorts of different things. But it doesn't necessarily fit
within the context of us on a given record. How do you go from "All Hope
Is Gone" to that shit? It's way too radical a departure. It wouldn't
work.
ROOT Don't get me wrong, I had a lot of
fun recording and playing guitar. And I had a lot of fun writing music
with Clown. I broke down some barriers and got closer to some of the
guys that I wasn't that close with before. And right now, we're all
getting along better than we ever have. So aside from the actual way the
album was put together, I think everything was great.
TAYLOR We still have our shit. Sometimes we're so
mad we can't even speak to each other. But at the end of the day, we
have done something so incredible together. We have accomplished the
impossible. The fact that we're still here and we're bigger than ever is
a fuckin' miracle.
Source : revolvermag.com