Slipknot News Feed

The annual ‘Rock am Ring‘ and ‘Rock im Park‘ festivals in Germany will be reaching their 30th and 20th anniversaries respectively next year. Among the initial wave of artists set for the June 05th-07th run of shows are:

Foo Fighters
SLIPKNOT
Motörhead
Lamb Of God
In Flames
Papa Roach
Asking Alexandria
Parkway Drive
Rise Against
Die Toten Hosen
Donots
Trailer Park
Callejon
Trubostaat
Beatsteaks
Kraftklub
Broilers
Frank Turner And The Sleeping Souls

For additional details head to rock-am-ring.com.

Slipknot percussionist M. Shawn “Clown” Crahan has elaborated on just why the band intend to burn camel shit during the upcoming US ‘KNOTFEST‘. Shawn Crahan points out though that despite the press release mentioning oil would also be involved, it will be pure camel dung that will be burned during the fest. Speaking with Rolling Stone of the matter, he offered:

“We did the camel dung on the first Knotfest. It was awesome; it was beautiful. came into the museum and they had to be hit with camel shit. A very distinct smell. You can’t huff it, but it’s got this smell. And it’s not necessarily the most comfortable thing, but its not necessarily the worst thing, it’s just remembering thoughts — it’s gonna be a reoccurring thing.”

“I write down things in life that are special, that only living in this thought process can you ever obtain. Freshly mowed grass. How it smells when a nice spring rain hits. Because of Iowa, I like being in a different state that doesn’t even have grass and think that I smell fresh-cut grass. It brings me home.

Makes me feel safe… So, I figure, since we’re not a band anymore — we’re a culture, everybody needs to get used to that real quick — that the culture has to have a smell. You have to be able to be somewhere in the world, maybe be in a little pain, and then all of a sudden smell that and feel good again.”

“.5: The Gray Chapter” is due in stores October 21st on Roadrunner. Pre-Order the brand new album now from iTunes / Amazon.com.

The US ‘KNOTFEST‘ will be held at held at the San Manuel Amphitheater & Campgrounds in San Bernardino, CA October 25th-26th.

This years US 'KNOTFEST', which will feature Slipknot, Five Finger Death Punch, Danzig, Killswitch Engage and many more. The organizers for the fest have now revealed the various attractions that will also be featured at the two day even, which will be held at the San Manuel Amphitheater & Campgrounds in San Bernardino, CA October 25th-26th. Here’s what they have in store - of particular note would be the ‘Scent Of Knotfest’:

SLIPKNOT MUSEUM
A tented museum curated by the members of Slipknot themselves. Slipknot’s history on display to include priceless Slipknot artifacts such as masks, suits, art, previously used equipment and other memorabilia from the members themselves personal archives and home garages.

FIRE AREA/THUNDERDOME
There is nothing choreographed about the THUNDERDOME. Two fighters step in and fight until one taps out. Nightly fights throughout the festival.

Straight from the bowels of hell is the Fire Zone, displaying a pyromaniac’s wet dream, with fueled performances throughout the festival day and night.

COSTUMED PERFORMANCE ARTISTS
30+ costumed pagan performers roam around festival adorned as different creatures tapping into your nightmares. Included in these performers will be firewalkers, fire breathers and sword swallowers…

ZIPLINE
For the first time ever at an American festival, the Zipline will scream across the upper section of the festival area, allowing you to fly over fellow KNOTFEST fans below at high speeds. There will be a low cost per ride.

RING OF FIRE CARNIVAL RIDE
Ripped straight from the memories of Clown’s childhood at the Iowa State Fair is the Ring of Fire. Not for the faint of heart or stomach! There will be a small cover charge per rider.

SCENT OF KNOTFEST
KNOTFEST has its own aroma that will infest your brain, body and clothes for days after the festival is over. Personally picked by Slipknot themselves, the smell of KNOTFEST will permeate the festival grounds. Oil drums will be filled with camel shit and oil, set aflame to last the entire festival.

GOAT PETTING ZOO
Goats will freely graze in the heavy-petting zoo, where KNOTFEST attendees can get close to their horned spirit animals.

TATTOO PARLOR
What festival experience would be complete without a KNOTFEST tattoo? A world-renowned tattooist will be onsite to tattoo you and leave a memory to last a lifetime.

JUNK CAR DRUM CIRCLE
Beat on junkyard cars with other KNOTFESTERS throughout the festival hours and into the night. A repeat from year 001, Clown also will play host to a drum circle on junkyard cars. Festivalgoers will join in, and beat the crap out of the cars with metal pipes, poles and whatever else they deem fit.

FLAMING CARNIVAL GAMES
Interactive midway style games that incorporate fire, such as a fire-belching tarot card reader or highstriker that shoots 50 foot flames into the night sky!

FITZ ARMY FREESTYLE MOTORCROSS SHOW
One of the most insane freestyle motocross demos in the world, Fitz Army is an action packed performance that hosts the biggest tricks, names and mobile freestyle motocross events. Founder and Metal Mulisha athlete Jimmy Fitzpatrick built the show on an adrenaline-choreographed performance. Each member of the Fitz Army freestyle motocross show has proved himself in the action sports industry, with multiple X Games medals, competitions, and world-class tours.”

REVOLVER The first time Slipknot was featured on the cover of Revolver was back in 2001, when Iowa was released. Is it weird to think about how your young fans from those days are in their 30s now?

Yeah, it’s weird. We’re looking at another generation of fans. And the crazy thing is, with everything that’s happened between ‘All Hope Is Gone’ and now, it’s been six years since we’ve released any new music. So there’s almost like a whole new group of people who have come of age without any new Slipknot music–all they’ve heard is the legend, all they know is the old stuff. It’s almost like we’re going back to basics and starting from street-level up. And it’s cool! One of the reasons we’re so excited about the album is because, to us, it feels like starting over in a lot of ways, for better or worse. And I think we’re doing it the right way.

Well, making a record without Paul and Joey is kind of like starting over, isn’t it? Those guys made a major contribution to Slipknot’s music.

Yeah. We knew it was going to be hard, and that’s one of the reasons why we took our time coming back to it. Obviously without Paul, and with us splitting ways with Joey, it made it a little harder. But with this band, it’s never been an issue of, “We can’t do it”—it’s always been an issue of “How can we do it? How do we do this?” So when something like that happened, we just kind of filled in the blanks for ourselves. We made sure that everything we did made sense, and that we were doing it for the right reasons. And we went for the music just from the standpoint of, if you want to do it, you’ve got to find a way to do it. The thing that we realized right away was, “It’s not going to be the same—so let’s not try and make it the same. Let’s just go for what our heart feels.” And once we figured that out, man, the music came really quickly; within two months, we had the basic template of what the album would be, and all that was left was to hammer out the details, which is always the best part, anyway. So yeah, it was a really good experience, man.

My initial impression of the album was that it mixes the attack of Iowa with the creepy atmospherics of All Hope Is Gone. Were you intentionally heading in that direction from the get-go?

 It was one of those things where we didn’t want to make the decision [regarding musical direction] until we heard what the music was going to feel like. And once we heard what it felt like, I thought it had the ferocity of Iowa, but to me, it’s got the esoteric, melodic side of Vol. 3, which was a lot more artistic—the bite was still there, but we were starting to spread out artistically a little more. So I think with this, we took that darkness and creativity, and we made something that was just a great amalgam of those two albums. We had a lot of emotion, we had a lot to say, and we knew we didn’t want to just go in and make a completely angry album.

Jim and Stone Sour parted ways on less than friendly terms right before work began on this album. Did that situation impact your ability to work together in Slipknot?

 It was difficult, at first. It put a strain between he and I for a little bit. It was one of those things where the timing just sucked. But at the same time, we knew that, on both sides, we’ve gotta do what we’ve gotta do. But at the same time, we had this amazing project that we were working on [with Slipknot], so we were able to kind of channel that and put it into what we were making, which I think in a lot of ways helped the overall aggression and emotion really get there. Because this album bites. The riffs on this album really dig and really bite, and I think a lot of that [Stone Sour situation] fueled Jim’s writing. Not to get too much into that side of things, but obviously it wasn’t the way that we wanted the news to get out… Out of respect to Jim, I have to say that we talked about that, and we buried the hatchet there. But in a lot of ways, it is what it is. When you plan for stuff, there’s always a chance that your plans will get ruined. I’ve been saying from Day One that the best way to get God to laugh is to announce your plans out loud. Because it’s true, and that didn’t even come from a religious standpoint—if you think it’s going to go one way, it’s totally going to go another. We dealt with it, and we just did the best we could with the situation.

Well, this certainly isn’t the first time a Slipknot record has been forged amid personal tensions and issues.

 Yeah! But you know what? I can say this with absolute honesty: I had so much more fun making this album than I did making All Hope Is Gone. It was just easier. There was so much tension during All Hope Is Gone, for whatever reason. It was just a fight to make it. This one felt much more like a concerted effort. I think we all realized how important it was. We knew that we wanted to make something special. We knew that we had huge shoes to fill. We all realized that we’d taken a lot of shit for granted; and when you realize that, you start to look at people differently, you start to treat people differently. And I think because of that, we were able to come together as a band and as a team again, and really do something cool—not just for ourselves, but for our fans, because the fans have been gagging for this for a long time. And even though I’m happy that we waited this long, I think it was exactly what we needed to do.

 Did that sense of perspective come from Paul’s passing?

 Well, yeah. That hit us like a ton of bricks, you know? That was probably one of the hardest days that I ever had, if not the hardest day. A lot changed that day for us, you know? Some people went one way, others went another, as far as their lives, their approach towards life, and everything. We kind of looked at each other and went, “None of us is getting younger. We’re the only people that know our history, that know what we did together.” And in a lot of ways, it seemed like we were kind of taking each other for granted. So one of the positive things that came out of that, if you can find a positive thing, is that it made us realize that we’re all we’ve got, and we needed to get a little closer. And I think we did on this.

Can you comment at all on why the band parted ways with Joey?

 Not really. The only thing I can really say is that, in life, you’re gonna have instances where the path that you’re on leads to a T-section, and you’re either gonna go one way or another. Sometimes one person’s going one way and you’re going the other way, and as much as you can try to go in the same direction, it doesn’t always work that way. It was hard, but we did what we felt we had to do. And that’s all I can say.

Because of legal issues surrounding the split?

 Because of everything—from legal issues to just being respectful towards him, and everyone else.

After Paul passed, was there ever a point where you thought, “That’s it, Slipknot’s done, we’re never going to make another record”?

 Um, it was definitely on my mind. There was definitely a point where I was like, “What do we do now? What does it mean?” And there were some dark days at that point, just trying to figure out what the hell was going on. But I don’t think there was ever a point where we all felt like, “This is it”—if anything, it made us feel like, “What do we do now?” And I think going out on those Sonisphere shows helped. Those first Sonisphere shows showed us that it’s just as important for us to continue as it is for the fans, for whatever reason. Everybody’s got a different reason for being here, for being in this band and for continuing it. I think once we did that, we realized, “We still have our legs underneath us, we still love doing it, and we still want to do it.” After that, it was like, “Let’s give it a little time, and let the time for us to come back and make a record come to us naturally.”

How do you think Slipknot fans will receive your new drummer and bassist?

 I don’t know, to be honest. All we can do is what we do. You start going down that path, and it’s just another way to drive yourself crazy—trying to anticipate what a million people are going to say, especially in this day and age where everyone’s got an opinion, and you don’t really need to know what that opinion is. [Laughs] It’s the curse and the blessing of the freakin’ Internet. It is what it is. All we can do is take the same approach we’ve always taken, where we just do what we feel is right—and either the fans are with us, or they’re not. This is us moving on, you know? You spend too much time in the shadows, and you forget what warmth feels like. You forget what real sunlight and joy feels like. This is us stepping out of the shadows and getting back on the path.

First up Taylor shot down the rumors that their new song  “The Negative One” was about ousted drummer Joey Jordison. Corey Taylor told Metal Hammer (via MetalSucks):

“Oh my fucking God! People need to fucking unplug every now and again. I did hear some shit about the video for it, like it’s supposed to be Joey, but it’s so fucking funny.”

“Here’s the thing. The album is a story — not in a certain order; it jumps around — but it’s a story of this band for the last four years, from the moment Paul died to the moment we stepped out of the studio. So there are certain songs that deal with, not Joey in particular, but about the tension and trying to deal with the ugliness that we all have in us.

“The Negative One” was about me, not about Joey, and that’s why the song says, ‘Your choices are the negative one and me,’ which is the two kinda colliding together. “The Devil In I” is the same, which you’d think would be fucking apparent.

I love the fact that our fans are that passionate, but ‘Judas Priest,’ get out of the fucking basement once in a while! Log off of the fucking Twitter and go smell a flower, and just let yourself get back to a point where you go, ‘Y’know what? That’s a little crazy.”

Taylor also spoke at length with Revolver about the album, some excerpts from that chat can be found below:

On moving on without late bassist Paul Gray or fired drummer Joey Jordison:

“Yeah. We knew it was going to be hard, and that’s one of the reasons why we took our time coming back to it. Obviously without Paul, and with us splitting ways with Joey, it made it a little harder. But with this band, it’s never been an issue of, “We can’t do it”—it’s always been an issue of “How can we do it? How do we do this?” So when something like that happened, we just kind of filled in the blanks for ourselves. We made sure that everything we did made sense, and that we were doing it for the right reasons.

And we went for the music just from the standpoint of, if you want to do it, you’ve got to find a way to do it. The thing that we realized right away was, “It’s not going to be the same—so let’s not try and make it the same. Let’s just go for what our heart feels.” And once we figured that out, man, the music came really quickly; within two months, we had the basic template of what the album would be, and all that was left was to hammer out the details, which is always the best part, anyway. So yeah, it was a really good experience, man.”

On tensions between Taylor and Jim Root following Root‘s exit from Stone Sour just as work on the album commenced:

“It was difficult, at first. It put a strain between he and I for a little bit. It was one of those things where the timing just sucked. But at the same time, we knew that, on both sides, we’ve gotta do what we’ve gotta do. But at the same time, we had this amazing project that we were working on , so we were able to kind of channel that and put it into what we were making, which I think in a lot of ways helped the overall aggression and emotion really get there. Because this album bites.

The riffs on this album really dig and really bite, and I think a lot of that [Stone Sour situation] fueled Jim’s writing. Not to get too much into that side of things, but obviously it wasn’t the way that we wanted the news to get out… Out of respect to Jim, I have to say that we talked about that, and we buried the hatchet there. But in a lot of ways, it is what it is. When you plan for stuff, there’s always a chance that your plans will get ruined.

I’ve been saying from Day One that the best way to get God to laugh is to announce your plans out loud. Because it’s true, and that didn’t even come from a religious standpoint—if you think it’s going to go one way, it’s totally going to go another. We dealt with it, and we just did the best we could with the situation.”

On parting ways with Joey Jordison:

“The only thing I can really say is that, in life, you’re gonna have instances where the path that you’re on leads to a T-section, and you’re either gonna go one way or another. Sometimes one person’s going one way and you’re going the other way, and as much as you can try to go in the same direction, it doesn’t always work that way. It was hard, but we did what we felt we had to do. And that’s all I can say.”

On how he thinks fans will accept the bands new drummer and bassist—reportedly Jay Weinberg and Alessandro ‘Vman’ Venturella respectively:

“I don’t know, to be honest. All we can do is what we do. You start going down that path, and it’s just another way to drive yourself crazy—trying to anticipate what a million people are going to say, especially in this day and age where everyone’s got an opinion, and you don’t really need to know what that opinion is. It’s the curse and the blessing of the freakin’ Internet. It is what it is.

All we can do is take the same approach we’ve always taken, where we just do what we feel is right—and either the fans are with us, or they’re not. This is us moving on, you know? You spend too much time in the shadows, and you forget what warmth feels like. You forget what real sunlight and joy feels like. This is us stepping out of the shadows and getting back on the path.”