by Alex Larson, ArtsEtc. writer
Following the completion of its highly successful headline slot on last year’s Pledge of Allegiance tour, it would have been understandable if Slipknot decided to take some time off to heal from the injuries members inflicted on themselves and each other day in and day out on stage.
Fortunately for metal fans, the hyperactive boys from Des Moines have done the complete opposite. When the masked men of nu-metal returned home, they also returned to their musical roots that came before the matching, numbered jumpsuits and hyper-athletic stage antics that have earned them the respect of their loyal fans and the confusion of older generations.
After trading in his splintered drumsticks for a guitar, Slipknot drummer Joey Jordison embarked on a mission to make his goth-punk vision of seven years a reality. Originally called The Rejects, the Murderdolls represent a drastic departure from the blast beat, organized noise of Slipknot and its nu-metal contemporaries.
With song titles such as “Love at First Fright,” “Grave Robbing U.S.A.” and “She Was a Teenage Zombie,” Jordison and company have produced an atmosphere on Beyond the Valley of the Murderdolls that humorously combines punk with a B-movie horror shtick.
As a result of the enlistment of lead singer Wednesday 13 and fellow goth-industrial rocker Tripp Eisen of Static-X, the Murderdolls breathe fresh air into the depressing psychological state that has perpetually infected heavy music since Korn first marketed the concept in the mid-’90s. With songs that are as catchy as they are downright fun, the Murderdolls are a must-buy for any Halloween party this year.
While Jordison sought to cleanse himself of the depressive nature of Slipknot, lead singer Corey Taylor called up his pre-Slipknot band Stonesour in order to continue the self-treatment of his tortured soul by further exploring the deepest and darkest trenches of the human mind.
Originally formed in 1992 and disbanded in 1997 when Taylor and guitarist Jim Root left to form Slipknot, Stonesour reorganized in 2000 with the return of Taylor and Root during the recording process of Slipknot’s sophomore release Iowa. With song styles ranging from early ’90s alternative rock to more modern noise thrashing, one thing remains constant on this self-titled album: Josh Rand is the most talented undiscovered metal guitarist today.
From the opening track “Get Inside,” one realizes that this isn’t some thrown-together side project. With Taylor’s lyrical rock-rap social commentary, a steady thundering rhythm section lead by bassist Shawn Economaki and Rand’s Joe Satriani-inspired guitar shredding, Stonesour immediately establishes itself as a nu-metal force to be reckoned with.
The brightest moment of this album takes place in the album’s first single, “Bother,” where a bluesy, clean guitar tone helps Taylor recollect the victimization he has encountered in his life, the shell of a man it has produced and his refusal to give up.
If the music weren’t enough, the powerful free-verse poetry reading of the grand finale “Omega” allows Taylor to kick over every stone of society that he didn’t get a chance to address lyrically. For someone undergoing a bout of disillusionment or looking for the most well-rounded rock album of the year, Stonesour is a must buy.
Although most musical side projects are treated as one-time ventures, Jordison, Taylor and Root have built for themselves a platform from which to continue delivering their musical doctrine long after the third and final Slipknot album.
Beyond the Valley of the Murderdolls: B
Stonesour: A/B
