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By GREG MAKI
In 2002, Slipknot members Corey Taylor and Jim Root removed their masks and costumes, lightened up considerably and verily shocked the metal world with the smash single “Bother.” Though the soft, reflective song was not indicative of the sound of Stone Sour’s self-titled debut, it showed that this was a band that was not going to pigeonhole itself in any one genre. Four years later, Taylor, Root, guitarist Josh Rand, bassist Shawn Economaki and new drummer Roy Mayorga (ex-Soulfly), replacing Joel Ekman, bring us Stone Sour’s sophomore effort, Come What(ever) May, an album that blows away whatever musical boundaries remain.
There are plenty of songs here to get the mosh pits moving, but labeling the music metal is far too limiting. The opener, “30-30/150,” with Godsmack’s Shannon Larkin on drums, features Stone Sour at its most Slipknot-esque, though I wonder if that comparison would come to mind without the Taylor/Root connection. The track is heavy but not as dense as a typical Slipknot song; the riffs and especially the melodies stand at the forefront and have space to breathe. The title track is noteworthy for Root’s guitar solos and Taylor ’s anti-Bush ranting (“You want the world to be free? What the fuck is free about it?). The first sign that the band truly is expanding its horizons is “sillyworld”—and that’s not just due to its decidedly un-metal title. The song has a distinct Pink Floyd vibe and shows that Taylor ’s years of screaming with Slipknot have not robbed him of his voice.
Tracks seven through nine represent the most dynamic portion of the disc, starting with the incredibly infectious hook of “Your God.” Next is the ballad “Through Glass.” It’s been making waves at rock radio and I’d say it could be this album’s “Bother,” but an even better ballad serves as the finale. “Socio,” the most curious track on the record, follows. The band takes its experimentation the farthest on this one, with a 1980s New Wave feel leading into its bouncy chorus. It’s completely unexpected and one of the album’s highlights. The key to Stone Sour’s success is songwriting. A good song is a good song and they realize that. So whether it’s a headbanging anthem, a more accessible rock track, a ballad or a more experimental number, it works because the focus always is on writing a good song. That’s why Stone Sour can follow a ballad and a New Wave-inspired song with the heavier “1st Person” and the powerful, dramatic “ Cardiff ,” before closing the album with the piano-based ballad “ Zzyzx Rd. ” This song, which features a powerhouse vocal performance by Taylor and a beautiful guitar solo courtesy of Rand , may be the best the band has released thus far.
Slipknot may be the most successful extreme metal band in the world today, but I see the potential for Stone Sour to have a much longer career. As hinted at by their debut and confirmed by Come What(ever) May, they aren’t going to paint themselves into any corners. Great music doesn’t need a label.
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