Slipknot are wasting no time diving into their Knotverse, partnering with Titan Forge Games to bring “the 9” as playable characters within the popular Smite multi-player online battle game.
As you can see in the trailer below, all nine of the Slipknot musicians are prepared to do battle, with each mostly aligned with the instrument of their choosing which has now become a weapon. And seriously, the axe wielding skills of Jim Root, Mick Thomson and Alessandro Venturella look absolutely scary. Not to mention the thunder packed in the drums of the already powerful Clown, Jay Weinberg and Michael Pfaff. Get a closer look in the trailer below.
And for those who are looking for a more in-depth demonstration, it appears as though you can see a demo of the new Slipknot playable characters happening today (May 11) at 3PM ET at twitch.tv/smitegame.
For those not familiar, Smite it s free-to-play, third-person multiplayer game in which players control a god, goddess or mythological figure during team-based combat. Gamers can test out multiple modes of playing styles in order to improve their gaming experience and enter a variety of game modes. The game itself is available here.
Welcome to our “Psychedelic Lunch” series where wefind out how deep the rabbit hole really goes and explore music and musicians from the 60’s to today. Enjoy the trip!
SLIPKNOT has just released a new single, “The Chapeltown Rag”. The track, which can be streamed below, was produced by Joe Baressi, who has previously worked with AVENGED SEVENFOLD, QUEENS OF THE STONE AGE and CHEVELLE, among many others.
SLIPKNOT frontman Corey Taylor described the song to Knotfest.com as “a punisher,” saying it documents what happens when the distortions of mass media circulate within the echo chambers of social media.
“It’s classic SLIPKNOT,” said Corey about the track, which is inspired by a Netflix ￼documentary he watched about the Yorkshire Ripper serial killer who murdered multiple women in the West Yorkshire, United Kingdom suburb Chapeltown in the late 1970s. “And it’s frenetic. But lyrically, it’s coming from a point of talking about the various manipulations that can happen when social media meets media itself. And the different ways that these manipulations can try to pull us in different directions, in the fact that we’re all becoming addicts to it, which is very, very dangerous.”
Recorded during recent sessions for a yet-to-be-announced new album, “The Chapeltown Rag” barrels forward with the speed of a freight train derailing and incisively eviscerates Internet culture from the inside out with the scream, “When everything is god online…nothing is.”
M. Shawn Crahan, better known as Clownfrom SLIPKNOT, added: “‘The Chapeltown Rag’ facilitates a sort of mindset that you’re going to like: it’s along the barnburner side of things.”
“The Chapeltown Rag” was performed live for the first time ever November 6th at SLIPKNOT‘s Knotfest Los Angeles. The event was livestreamed which gave fans access to both the studio version and SLIPKNOT‘s live performance of “The Chapeltown Rag.”
SLIPKNOT heralded “The Chapeltown Rag” with a unique and innovative rollout throughout this week. Unbeknownst to visitors, key lyrics from “The Chapeltown Rag” adorned Knotfest.com — the band’s online hub for news, community, and their official fan club, OT9. When users clicked on the lyrics, they landed at http://www.thechapeltownrag.com. Beckoning fans further down the rabbit hole, http://www.thechapeltownrag.com featured a series of nine eco-friendly NFTs minted under the user account “desmoines515” and hosted on the carbon neutral WAXBlockchain. New digital assets were revealed each day this week. When assembled, those assets granted the first look at the single artwork, as well as a part of “The Chapeltown Rag”. Fans who collected all nine of the free-to-redeem tokens should stay tuned for various special redemption options and offerings throughout the next album cycle.
“SLIPKNOT has been at the cutting edge, utilizing technology in new and creative ways to engage with their fans,” said Lee Jenkins, product manager for WAX, “and we are very excited that they chose WAXfor this initiative that showcases a new way to utilize blockchain technology.”
According to Knotfest.com writer Dan Franklin, “The Chapeltown Rag” chorus sees Corey experimenting with vocal approaches he had never taken before.
“I wasn’t even sure if that part was going to be the chorus, to be honest,” Corey said. “But I just love the way that the chord progression lent itself this weird, chromatic, minor vibe to it, which I had never really done before. I played with it on ‘Vermilion’years ago, but I had never really given it a little more aggression. The harmony that I created for it was just so fucking weird as well that it just gives it that slight dissonant vibe, but it’s also very, very melodic and hummable. Writing and pulling yourself out of trying to keep it in some sort of structure allows you to just fucking rip the scab off and let the wound be what it is. Then obviously, the big breakdown at the end where it just fucking goes off the rails is is so heavy, dude.”
SLIPKNOT‘s last album, “We Are Not Your Kind”, was released in August 2019. The LP sold 118,000 equivalent album units in the U.S. in its first week of release to land at position No. 1 on the Billboard 200 chart. Furthermore, the album made an impact worldwide with No. 1 debuts in the United Kingdom, Mexico, Australia, Canada, Japan, Ireland, Belgium, Portugal and Finland, as well as Top 5 debuts in Germany, France, Norway, Italy, Austria, Sweden, Switzerland, The Netherlands, Poland, Spain and New Zealand.
SLIPKNOT is currently headlining the “Knotfest Roadshow” tour, featuring support from KILLSWITCH ENGAGE, FEVER 333 and CODE ORANGE. The 29-date run, produced by Live Nation, kicked off following the band’s Knotfest Iowahometown show in Des Moines on September 25, and will wrap up at the aforementioned Knotfest Los Angeles.
Written By Braddon S. Williams aka “ TheConcert Critic”
On this date in history, 10/1/2021, Slipknot brought their Knotfest traveling metal collective to Deer Creek (Ruoff Music Center if you prefer) for an evening of cathartic noise therapy.
In addition to the masked marauders from Iowa, this year’s lineup featured Killswitch Engage, Fever 333, and Code Orange. Due to a combination of work schedules and traffic conditions, we completely missed the two opening acts. I had done a little research and was tentatively looking forward to Code Orange, but missing Fever 333 was no big loss in my opinion.
It had been awhile since I had last seen Killswitch Engage, and Howard Jones had been their singer every time previously, so I was a bit curious to see how Jesse Leach would compare. Honestly, I prefer Howard as a vocalist, but Killswitch gathered momentum as their set progressed and I enjoyed their energy.
Slipknot basically brought out the same staging and lights from their 2019 tour, but like the Alice Cooper show we attended two nights before, Slipknot seems to have been reinvigorated from the extended time off. Their mix was superior this time around, but I missed the much stronger support bands from the ‘19 event.
On a side note, since it was the beginning of “Halloween” month and in solidarity with Slipknot’s masks, I decided to attend the show wearing a Devil mask and a Blackcraft Cult shirt that may or may not have said some Satanic stuff. Needless to say, I had a seemingly endless line of people coming up and asking to take selfies with me! There were some truly hilarious comments made, like the woman who said “I’ve always wanted to meet you!”
A number of friends actually saw me and didn’t discover my true identity until the next day. I’m glad I made the decision to start my Halloween celebration at a Slipknot show, and it gave me a sliver of understanding of just how much those guys suffer for their art. My face was sweating bullets and I was basically standing still. Love them or hate them, but Slipknot is not phoning it in.
Written By Braddon S. Williams aka “The Concert Critic”
On this this date in history, 8/16/2019, Slipknot brought their Knotfest roadshow to Deer Creek in Noblesville, IN. Although the masked marauders hail from Iowa in the USA, the other 3 bands brought international diversity to the heavy music showcase.
Behemoth, from Poland, began the proceedings with a ferocious display of Black Metal mastery. The corpse painted band’s dark theatricality and Satanic imagery probably didn’t win over too many of the Slipknot faithful, but I thought they were the best of all the bands that day.
Behemoth are playing for keeps, and that emotional approach always finds its crowd.
Gojira, hailing originally from France, were barely below Behemoth in my estimation, and they played a fantastic set, too. In particular, Mario Duplantier’s drumming is beyond amazing. That guy simply plays patterns that seemingly no-one else has thought of, and he is a lot of fun to watch while he is up there slaughtering his drum kit.
Up next were Denmark’s Volbeat, and they were definitely the least metal of all the bands, but they were quite well received.
A friend remarked that their singer’s voice reminded him of the Swedish chef from The Muppets, and now I simply can’t “un-hear” that comparison!
Rob Caggiano (who previously played lead guitar in Anthrax) played some solid guitar solos and they sounded great mix-wise, but I think overall that Volbeat would be better on a tour more suited to their musical style.
Slipknot did what Slipknot does, which is to say that everything was bigger, brighter, and louder than everyone else. One small complaint for me personally was that one of the utility guys seemed to spend way too much of his time playing around on the treadmill up on the second level of the stage. It was pretty distracting, to say the least. Okay, it was downright annoying! Oh, yes…and Corey Taylor’s vocals were often too low in the mix. With all that is going on in Slipknot’s music, it can’t be easy to give everyone equal attention, but in general, vocals are supposed to be audible in the mix, and the sound guy wasn’t getting it done.
This was my 9th time seeing Slipknot, the 4th seeing Behemoth, the 2nd seeing Gojira, and the first time for Volbeat. All in all, I had a fantastic time, but I stand by my original reason to attend this show. I was there for Behemoth and Gojira, and for my money, those were the best 2 bands on that stage.
Kudos to Slipknot for their generosity towards the support bands.
Everyone had excellent sound, lights and backdrops…all 3 of the openers actually had better mixes than the headliners, but Slipknot is a cottage industry at this stage in their career, and like Metallica, they kind of play by their own rules.
As long as they take this approach to touring, I imagine I will be seeing them several more times before they hang up their masks.
Slipknot emerged from their Iowa Hell in 1999 to deliver their self-titled major label album debut.
The 9 headed metal beast exploded onto concert stages as part of Ozzfest that year and if memory serves me right, this album dropped the day they appeared in Noblesville, IN, at the Deer Creek amphitheater.
I was at that show, but unfortunately I missed Slipknot’s set. I have since seen them many times live, where they are quite dominant.
As much as they are known (rightly so) as a live act, Slipknot have made some pretty impressive music in the studio, too.
The Slipknot album was produced by Ross Robinson, and has an explosive mix that somehow manages to capture the contributions of all 9 members of the band without sounding too crowded.
Memorable songs for me include Surfacing, Spit It Out, Eyeless, (sic), and the amazing blast of metal/punk fury Eeyore.
Corey Taylor and the rest of the masked marauders deliver a hammering display of unbridled aggression that delivers more adrenaline than a keg of espresso.
On this date in history, 8/14/2015, Slipknot, Lamb Of God, Bullet For My Valentine, and Motionless In White combined to play an impressive show at Deer Creek. I had seen each of these bands at least twice, but the teaming up of 4 such diverse bands made for a really enjoyable time. Motionless In White kicked off the show with youthful energy and the charismatic presence of Chris Motionless, a less menacing version of the goth icon, Marilyn Manson. Whether one labels them metalcore, goth metal, or whatever other metal subgenre one wants to use, Motionless In White write great songs that translate well in big outdoor shows.
Bullet For My Valentine played the best show I have ever seen them play, doubtless spurred on by what preceded them and mindful of the titans that would follow. They had just released Venom, their 5th album, and it seemed they were fired up to make it successful.
Lamb Of God also had recently released a new album, VII: Sturm und Drang, the latest in a long line of crushing collections of brilliantly constructed mosh inducing mayhem.
Indeed, as someone who was up in the lawn area, the pits were quite volatile and ferocious, a perfect accompaniment to the precision attack of the Richmond, Virginia maestros.
Few bands could follow Lamb Of God on a good night, but Slipknot are one of them, and follow they did, playing probably the most impressive set I’ve yet to see them play.
Everything was louder, brighter, simply MORE…a 9 ring circus from Hell…the Iowa based madmen bring the spectacle and I’m quite sure they have done for young metal fans what Kiss did for me in my formative years, which is to say they act as a gateway to so much discovery. One just has to peek behind that door and walk in to a world of music and entertainment.
Written By Braddon S. Williams aka The Concert Critic
On this date in history, 8/13/2008, the inaugural edition of the Mayhem Festival arrived at Deer Creek In Noblesville just in time to fill the void left by the dearly departed Ozzfest, which had ceased to be a touring fest after the free show the previous year.
Mayhems’ first lineup featured Slipknot, Disturbed, Dragonforce, Mastodon, Machine Head, Airbourne, Five Finger Death Punch, Walls Of Jericho, Dead Broke, Underoath, 36 Crazyfists, The Red Chord, Black Tide, and Suicide Silence.
I always love finding a band I’ve never heard before and getting to witness a set that makes me a fan. Such was the case with Suicide Silence…they just took that stage and OWNED IT…just an absolutely crushing set of brutality, insane energy, and pure confidence.
The Red Chord made me a fan, too. I didn’t get to see much of their set because I was in the process of meeting Machine Head when they were on stage, but as I was talking to Rob Flynn, he suddenly jumped up on a chair and told me to check out an event that was taking place during The Red Chord’s set.
They did a “Wall Of Death” that was utterly crazy…first time I had ever seen one of those. Rob Flynn, who has most likely seen everything that metal has to offer, took the time to make sure I got to see it, and I glanced over at him and marveled at the gleam in his eyes and the huge grin on his face and realized that he is just as much a fan of our beloved metal music as I am. Needless to say, my love of Machine Head grew 3 sizes that day, much like the Grinch’s heart in the Dr. Seuss fable.
A few quick words about Walls Of Jericho before I get back to the mighty Machine Head…they were so amazing! Candace Kucsulain, the ginger headed female lead singer of the metalcore band, was literally like the Tasmanian Devil, exhorting the metal masses to start circle pits, crowd surf, and just jump up and down and scream their heads off. She knows how to get a crowd into it, and her band used that skill set to great advantage.
I put them right up there with Suicide Silence on the intensity Richter Scale! Machine Head were the final band on the second stage, and they were phenomenal. Flynn’s vocals were just massive and perfect, and the band were tighter than anything this side of Megadeth…just a fine tuned killing machine, I mean Machine Fucking Head!
Mastodon began the proceedings on the main stage and brought their own precision to their unique brand of progressive metal. Brann Dailor is one of the best drummers in metal, perhaps in all of rock music, and his playing is the perfect style for the band’s ever shifting canvas of complex riffs.
I’m not a fan of Dragonforce (although I have to acknowledge that their guitar players are extremely gifted players…the vocals and rehashed Iron Maiden ripoff rhythm patterns by the drummer and bass player just ruin it for me), and I actively dislike Disturbed, so I took a break during their sets and gathered energy for the storm that is Slipknot.
The 9 finished the virginal edition of Mayhem with a colossal show that the Iowa bred madmen have perfected over the course of their long career…everything louder, brighter, faster, and crazier than everything else…and that’s a good way to close out a show that had just begun a great 8 year run!
Written By Braddon S. Williams aka The Concert Critic
On this date in history, 7/15/2012, the 5th installment of the Mayhem Festival made its annual visit to Deer Creek, and my friends and I were part of the metal masses in attendance.
This show featured Slipknot, Slayer, Motörhead, As I Lay Dying, Anthrax, The Devil Wears Prada, Asking Alexandria, Whitechapel, Upon A Burning Body, I The Breather, Dirtfedd, Betraying The Martyrs, Hemlock, and our hometown heroes, the mighty Threat Level.
I am unable to comment on each band, but will do my best to spotlight the bands I enjoyed the most and welcome comments from anyone in attendance who may wish to fill in the blanks and give a review on any of their favorites.
The first band to attract my interest was Upon A Burning Body, but as good as they were, they were absolutely obliterated by Whitechapel, who played a singularly vicious set, raising the brutality bar to the highest echelons of intensity.
Anthrax have long been a favorite of mine, and they appeared to be in fine form on this day, but I was only able to catch 2 or 3 songs before I had to make my way to the stage where my friends in Threat Level were set to detonate the crowd gathered for their crushing performance. The band; comprised of Frank Rapacki on vocals, Troy Welch on guitar, Jason Weaver on bass, and Chad Smith (not THAT Chad Smith) on drums, had won a regional battle of the bands to secure their spot on this show and they made the most of it, impressing the large and boisterous assembly awaiting the band’s powerful blend of groove and thrash metal, topped by Rapacki’s roaring voice. Some fierce pit action accompanied favorites from their Leading The Vicious and A World Beyond Devastation albums.
After a much needed break following Threat Level’s set, I was ready for the trinity of terror comprised of Motörhead, Slayer, and Slipknot. Lemmy and company were a band on my bucket list and they were every bit as wonderful as I expected them to be. Mickey Dee drummed like a man possessed, Phil Campbell provided the guitar carnage, and the immortal Lemmy played the superhuman, jet propulsion bass and rasped out his one of a kind and singularly irreplaceable vocals on a set full of thunderous Motörhead majesty, including “Ace Of Spades”, and “Overkill”, with its 2 false endings and the furious finale with nothing but truth.
Slayer followed with their diabolical majesty, continuing the onslaught that wouldn’t abate until the concert ended. Dave Lombardo was still in the drum throne at this time, and for my money he is the undisputed king of metal drumming. Jeff Hanneman was absent by this time and Gary Holt from the band Exodus did an admirable job of filling some nearly impossible shoes to fill. Kerry King and Tom Araya did what they have always done, with King hammering the riffs with beastly intent and causing sonic disturbances and eardrum lacerations with his punishing leads, and Araya summoning up that VOICE, the mouthpiece for the Slaytanic war ensemble.
A crushing performance it was…and this left the 9, the masked minions of Mayhem, the circus of the damned known as Slipknot to take us to the finish line as only they can. Joey Jordison was the 3rd and final superpowered drummer I had the joy to witness back to back to back in this amazing display of ferocious multi limb dexterity. Corey Taylor added his voice to the hall of fame duo of Lemmy and Araya, and the rest of the Iowa based madmen did what they do, delivering visual thrills and chills and a whole lot of metallic bombast.
This one may not have been the strongest lineup overall, but it definitely was the one with the strongest 1-2-3 punch to end the show of any of the Mayhem Festivals.
Written By Braddon S. Williams AKA The Concert Critic