Slipknot
All Hope Is Gone

THE REVIEW

Slipknot - All Hope Is Gone

"But to what genre do the Slipknot belong: the most extreme Nu Metal or something more?" This is the question many ask when discussing the band from Iowa. This is especially evident in this album, "All Hope Is Gone," which effortlessly ranges from the sweetest sounds, proposed in "Vol.3 - The Subliminal Verses," to reach the extreme Metal of the first two releases.

The fourth chapter of these 9 madmen begins immediately with an impressive blast, Gematria (The Killing Name), which gives us an idea of the kind of album we are about to listen to. Only flaw: (perhaps) a bit too long; Sulfur, then, is an excellent balance between scream and melodic parts. The same can be said for Psychosocial, which has become one of the band's anthems.
Among the following tracks, we encounter Dead Memories: Not too metal, not too alt rock. It will excite you if "Vol.3" was a masterpiece for you. If you're first-hour Maggots, however, less so. On the same level is Snuff, in Stone Sour style like the aforementioned.
We subsequently arrive at Vendetta and All Hope Is Gone, which are the pillars of death metal according to Slipknot: catchy even for those who don't consider extreme metal their daily bread.
Also noteworthy is Butcher's Hook in Meshuggah style, but neither does Wherein Lies Continue kid around.

Ultimately, an album that demonstrates how the sound of the nine madmen from Iowa is in continuous evolution. Flaws? Despite the rather good mixing, the bass of the late Paul Gray (rest his soul) doesn't seem so decisive. The same goes for Crahan and Fehn. On the other hand, noteworthy is the once again superb work of Jordison.