SLIPKNOT Bio
Iowa is probably best known as "the middle of nowhere." Most
non-residents consider the corn-and-pig-state a geographical black
hole. Since rock'n'roll's dawning in the early '50's, Iowa has had no
singular voice to put on the musical map. Naming a significant musical
identity from the state is inarguably a fruitless task; it simply can't be
done. However, nine freaks from Des Moines--draped in industrial
coveralls, surrealistic self-made masks, and an attack that combines
violently regurgitated "L.A. neo-metal," death metal, hip-hop, and
downtuned screeching horror--are about to leap upon the unsuspecting
world like a musical of Clockwork Orange. Have you ever thought
about what a messed-up hardcore metal band from "the middle of
nowhere" would sound like? "Ultra-violence" only begins to descibe
it...
Meet 0, 1, 2, 3, 4, 5, 6, 7, and 8. (In human terms that's DJ Sid
Wilson, drummer Joey Jordison, bassist Paul Gray, percussionist
Chris Fehn, guitarist James Root, sampler Craig Jones, percussionist
Shawn Crahan, guitarist Mic Thompson, and vocalist Corey Taylor,
respectively.) Each comes equipped with not only a frightening visual
persona and number assignment, but a talent on his particular
instrument that combines and collides to form the nine-headed
savior/destructor of modern heavy music dubbed Slipknot. Now, with
the tools and talents (not to mention complex-yet-infectiously-catchy
songs) that this band holds in its grasp, the world has no choice:
Slipknot has arrived, and you must now decide how to deal with it.
Formed during the latter half of 1995, the band went through
necessary lineup changes to arrive at what they now descibe as "a
family unit." All native Iowans, their rather unassuming, un-happening
locale gave the members plenty of space and time to perfect their
unusual take on heaviosity. The band recorded and distributed the
self-released debut Mate. Feed. Kill. Repeat. in 1996, and the ball
hasn't stopped rolling since. Attracting the attention of a number of
labels, Slipknot finally signed to Roadrunner through noted producer
Ross Robinson's I AM RECORDS imprint in 1997 and entered Indigo
Ranch Studios in L.A. with Robinson to record Slipknot. From the
pummeling Sic and the unforgiving bludgeon of Surfacing to the
sublime melodies within Wait And Bleed and the hypnotizing rhythmic
drive of Prosthetics, Slipknot's vast array of influences comes
seamlessly wrapped up in a 13-song love/hate letter to the outside
world. The touring that will follow is promised to be "unlike anything
else that's going on out there. Seeing is believing." So says Shawn
Crahan. And it's a gross understatement of what actually transpires
when it all comes together on stage.
Until you hear the sound they create, having nine members in the
band might seem ludicrous. Shawn claims it couldn't work any other
way: "We've maintained an excellent practice schedule for the last
three years. Everybody's on time, everybody's always there, and we
always practice as a unit. Our music is so reliant on each other that if
one guy, even the DJ, is gone, it just wouldn't be our songs without
him. Without one person, something is really, really missing.
Everybody has to be present. Even the littlest things make the songs
magical."
Just as striking visually as they are musically, Slipknot stresses that the
visuals do not take precedence over the music. "We never put on the
shit we wear to try and get people into us," says Joey Jordison. "We
did it because, after being degraded constantly for trying to play music
or do something in Des Moines, it just came to be like we were an
anonymous entity. No one gave a fuck, no one cared, so we were
never about our names or our faces; we're just about music. So we
just put it on and it started gettin' people, and it just started to turn into
this big thing. The music's the most important, though. The coveralls
and masks happened, and for some reason it worked, therefore we
had to kind of continue with it. We got stuck with it."
Now that they're stuck with it, they hardly feel like themselves
without it. Shawn feels that "...the masks are extensions of our
personalities. Everybody's got sort of a tweaked, demented way about
themselves, and we just alter the masks over time. It feels really, really good when we wear our masks for an hour, and then afterwards
we take it off, and the first thing we do is go, 'God, what a relief!', but
we always seem to put 'em back on after a show and walk around the
place." And the visual presentation will change over time, just as the
music certainly will. "I think things will always be changing with
Slipknot. Everybody grows older every year, and with that you
change, and that's somethin' Slipknot is always going to do."
As for the number assignments they wear on their coverall sleeves,
they're lucky numbers, significant and vitally important to each
member. When choosing them, "Everybody fell into a number," says
Shawn. "There was not one person in the band arguing over a
number. It was really weird."
Thanks to a hefty Ross Robinson production job on Slipknot,
Slipknot's vision, part one, has been successfully realized. Shawn feels
that Robinson was as highly motivated to work on the record as the band were to work with him. "We're a highly, highly aggressive band,
and very seldom do we meet people who are in the realm of our
aggressiveness when we play as a unit, and Ross took us into the
recording room and was throwing punches at us. He was into it. Ross
got up every day and went and worked out so he could be in shape to
do our album."
When label reps and Robinson himself came to Des Moines to check out Slipknot at their best (on stage), the members were left with little to do for after-show entertainment than go to local strip clubs. After hosting guest after guest, the band were completely burnt out. Now,nobody in Slipknot ever wants to step inside a strip club again (it's
Des Moines's leading form of entertainment, incidentally). Shawn grunts in disgust: "Fuck the strip bars. Fuck taking anybody to strip joints. We
got shit to do."
