#slipknot — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #slipknot, aggregated by home.social.
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The last song from #Slipknot is so ass I had to wipe my headphones.
For one moment I thought I mistakenly put #StoneSour on the player, but no.
I'm confused.
a) Should I show my dissapointment and anger over this creatively bankrupt sample?
b) Should I cheer because the band is dead like #A7X and I can finally move on? -
The last song from #Slipknot is so ass I had to wipe my headphones.
For one moment I thought I mistakenly put #StoneSour on the player, but no.
I'm confused.
a) Should I show my dissapointment and anger over this creatively bankrupt sample?
b) Should I cheer because the band is dead like #A7X and I can finally move on? -
The last song from #Slipknot is so ass I had to wipe my headphones.
For one moment I thought I mistakenly put #StoneSour on the player, but no.
I'm confused.
a) Should I show my dissapointment and anger over this creatively bankrupt sample?
b) Should I cheer because the band is dead like #A7X and I can finally move on? -
The last song from #Slipknot is so ass I had to wipe my headphones.
For one moment I thought I mistakenly put #StoneSour on the player, but no.
I'm confused.
a) Should I show my dissapointment and anger over this creatively bankrupt sample?
b) Should I cheer because the band is dead like #A7X and I can finally move on? -
The last song from #Slipknot is so ass I had to wipe my headphones.
For one moment I thought I mistakenly put #StoneSour on the player, but no.
I'm confused.
a) Should I show my dissapointment and anger over this creatively bankrupt sample?
b) Should I cheer because the band is dead like #A7X and I can finally move on? -
https://www.europesays.com/be-fr/248961/ Slipknot surprend avec Arsenal, son premier titre en trois ans #ActualitéRock #Arsenal #BE #BEFr #Belgique #Belgium #CoreyTaylor #DesMoines #Divertissement #Entertainment #METAL #Music #Musique #NouveauSingle #NouveauTitreSlipknot #NouvelAlbumSlipknot #RetourSlipknot #SidWilson #Slipknot #vidéo
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Por que ‘Arsenal’ não estará presente no novo disco do Slipknot, segundo Jim Root
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“’Arsenal’ era una canción que podíamos sacar rápidamente mientras trabajamos en el resto del álbum. No es realmente representativa de las otras canciones”, escribió el guitarrista de la banda, además de confirmar que no estará en el próximo álbum.
🐦🔗 https://farside.link/x.com/Nacion_Rock/status/2098417081070809437#m
RT: https://twitter.com/Nacion_Rock/status/2098417081070809437#m -
“’Arsenal’ era una canción que podíamos sacar rápidamente mientras trabajamos en el resto del álbum. No es realmente representativa de las otras canciones”, escribió el guitarrista de la banda, además de confirmar que no estará en el próximo álbum.
🐦🔗 https://farside.link/x.com/Nacion_Rock/status/2098417081070809437#m
RT: https://twitter.com/Nacion_Rock/status/2098417081070809437#m -
Puh, ich komm auf "Arsenal" von #Slipknot auch nicht klar. Kritik mMn angebracht.
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Puh, ich komm auf "Arsenal" von #Slipknot auch nicht klar. Kritik mMn angebracht.
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Puh, ich komm auf "Arsenal" von #Slipknot auch nicht klar. Kritik mMn angebracht.
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Puh, ich komm auf "Arsenal" von #Slipknot auch nicht klar. Kritik mMn angebracht.
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Puh, ich komm auf "Arsenal" von #Slipknot auch nicht klar. Kritik mMn angebracht.
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«No es representativa del resto de las canciones»: Jim Root aclara que “Arsenal” no representa el sonido del próximo disco de Slipknot ni estará incluida en él | vía #NaciónRock
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https://www.europesays.com/ch-fr/301985/ Slipknot surprend avec Arsenal, son premier titre en trois ans #ActualitéRock #Arsenal #CoreyTaylor #DesMoines #Divertissement #Entertainment #Metal #Music #Musique #NouveauSingle #NouveauTitreSlipknot #NouvelAlbumSlipknot #RetourSlipknot #SidWilson #Slipknot #Suisse #video
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«I push my fingers into my ears»: El brutal impacto negativo de la fanaticada de Slipknot ante el nuevo single de la banda | vía #NaciónRock
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Now Playing
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Slipknot - Slipknot ギミチ - CD Mate Feed Kill Repeat Original Edition 🔥 🛍️ 🌑 🔔 44.1kHZ lossy Digital version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Digital Signal Path
- SBC Pi5 ARM SOC / Linux system X86
- UMC22 / Forte Digitizer Behringer [Out 0 1]
- Instrument Mixer {16 channel} [stable TRS OUT 0 1]
- Yamaha Mixing Console {stable TRS IN 0 1}
- Aux0 send Effect rack unit0 channel 0
- Aux1 send Effect rack unit0 channel 1
- Aux 0 return Master Bus channel 0
- Aux 1 return Master Bus channel 1
- Master faders {logarithmic eLog(x)}
- XLR output {channel 0 1}
- Headphone Amps 0 1 (4 channel x 2)
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- Floor monitors x 2
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- DAW
log
uname -aZ
sources:
man uname(1)man flac(1)man moc(1)man ls(1)https://en.wikipedia.org/wiki/Slipknot_band
https://en.wikipedia.org/wiki/Metal
https://en.wikipedia.org/wiki/Heavy_metal_music
#NowPlaying #Music #Slipknot #Metal #Metal #Bass #electric #Retro #LegacyMusic #Music #metal #Digital #no #TV
- SBC Pi5 ARM SOC / Linux system X86
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Against I – Anti Life Review By Andy-War-HallAgainst I are neither a one-sided I Against I nor a Rastafarian Against Me!, but a Swedish blackened death metal trio of vocalist Fredrik Keith Croona (Cynical Existence, ex-Menschdefekt), guitarist Mathias Back, and drummer Anders Ström. Founded in 2022, Against I have been busy preaching disillusionment towards man’s better angels across two LPs and and two EPs. Into their third year, Against I are back with their third full-length album Anti Life, an anthem for everyone bitter against the world, religion and, probably, their parents. This kind of intense workload in such a short time could mean a variety of things. It could mean Against I are an exceptionally driven bunch. It could also mean they’re on a fast track to burning out on Anti Life. What could it be?
I won’t faff about: Anti Life embodies the worst qualities of both black and death metal. Across nearly an hour of music, Against I slop out grooveless grooves (“Darkness Within,” “Where We Lay to Rest”) and flat tremolos (“In Death’s Grip,” “Descend”) at an unhurried mid-pace under tepid rasps and admittedly hefty gutturals (“Empire of Bones”). Against I occasionally crack out a slick drum groove (“Sacrifice,” “Empire of Bones”) but mostly stick to punky d-beats (“Built to Destroy”) or double-kick plods (“Symphony for the End”). Anti Life is heavy on gain, light on bass, and borderline bereft of dynamics or variety. Faux choirs and synths play chords to enforce its blackened aesthetics. Rinse and repeat, and you’ve got Anti Life in a nutshell. With such a limited toolbox stretched out over such a long runtime, Against I shaped a blackened death album with none of the majesty or atmosphere of black metal’s greatest hits nor the depraved brutality of death’s best.
Anti Life is made worse by simply clueless songwriting. Against I stick to an overly limited scope regarding song structure, with almost every track ambling between segments with little urgency or patience to let passages evolve. Nearly every chorus is just a two-to-four-bar phrase repeated twice, usually exactly the same way each time. Despite the rigid formatting, these songs feel haphazard. “Darkness Within” has one of the most aimless riffs I’ve ever heard, dicking around a handful of low notes without an apparent goal, while “In Death’s Grip” features completely random pitch-shifted vocal blips, and “All Hope Is Gone” opens and closes with electronics tacked on with little regard to the song in between.1 And then there’s the lyricism, unfortunately apparent due to Anti Life’s discernible rasps. Amidst the incessant wave of banal metal, the constant diatribes of surface-level social commentary (“Throne of Tyranny,” “War Never Ends”), tiresome nihilism (“Anti Life,” “Symphony for the End”) and premium edgelord lines like “In the land of rape and honey, only the stupid survive” (“Tempel of Greed”)2 turn Anti Life from a rough listen to a near insufferable one.
But worse than Against I having lots of bad ideas, Anti Life just doesn’t have much of anything at all. So little happens across so much time that recalling any particular moment from Anti Life is laborious. It’s telling when “Throne of Tyranny”‘s milquetoast melodeath riffing or “Greed”‘s3 guitar harmonics in its bridge—standard features in most any generic metal album—are standout highlights on Anti Life. Just constant knuckle-dragging chugs and spiceless tremolo riffs. There aren’t even any guitar solos. Or anything solos. Nothing to break up the monotonous patterns Against I are totally hellbent on maintaining. Typically, musicians strip back their sound to highlight certain aspects of their sound, but Against I don’t have anything to highlight on Anti Life. This is the most frustrating thing to write about: not the disaster album that swings and misses horrendously but doesn’t swing at all.
I don’t think Against I are inept—an inept group wouldn’t have gotten this far—but Anti Life is just terrible. Against I are spared from the dreaded AMG Unlistenable/0.5 Hall of Shame by the virtue that Anti Life at least executes the basic mechanics of metal music proficiently, if not exceptionally. This is a joyless, deeply tedious listen, and fans of both death and black metal can find anything on Anti Life on any number of other, better records in far more interesting iterations. I’m glad Against I released Anti Life close to the start of spring because this record’s uninspired negativity has got me seeking out fresh air and sunshine out of pure spite against it. I’m anti-this.
Rating: Embarrassing
#10 #2026 #AgainstI #AgainstMe #AntiLife #BlackenedDeathMetal #CynicalExistence #IAgainstI #Mar26 #Menschdefekt #Review #Reviews #Slipknot #SwedishMetal #TwistedFleshRecordings
DR: 3 | Format Reviewed: 320 kbps MP3
Label: Twisted Flesh Recordings
Website: facebook.com/againstIband
Releases Worldwide: March 13th, 2026 -
Orbit Culture – Death Above Life Review
By Dear Hollow
Orbit Culture is a stellar band, so 2023’s Descent should have been an AOTY contender. An all-killer, no-filler blend of melodeath and thrash with a dark industrial edge sounds like a hodge-podge in the worst ways, but the Swedes have made it their brand with a fluidity that has defined them from the beginning. In this way, the quartet showed their songwriting prowess, with tracks like “Black Mountain” and “The Aisle of Fire” leading the charge in the death/thrash riffage that we’ve all come to know and love. But while the claustrophobic mix provided 2020’s Nija a bloodthirsty darkness, it made Descent impenetrable in its compressed muck – sinking it from formidable to forgettable. It was too much doing too much, with no breathing room to do it. Death Above Life offers a bit of a different feel, although it is undeniably Orbit Culture.
Don’t get me wrong, Death Above Life is claustrophobic and overloud, but its pitch-black overflow feels channeled into a better outlet. At its core a melodeath band with a healthy love for thrash, Orbit Culture has long incorporated a slough of djent and metalcore influences, which Death Above Life utilizes for choppy start-stop riffs and climactic breakdowns – emphasized by Humanity’s Last Breath multi-instrumentalist Buster Odeholm on mixing. While it sounds like a sellout, they provide reprieve for a band amplified to the max with ideas. Alongside this, we get our usual range of thrashy early-Metallica numbers to punishing pitch-black death metal cuts. There is more range in softer ballads and punishing ragers, and it is a production improvement over Descent, but Karlsson’s overloud and often awkward clean vocals are suddenly a nagging issue.
As expected, the traditional thrash vibe is alive and well with Orbit Culture – even the more accessible cuts will rip you a new one. Mastermind vocalist/guitarist Niklas Karlsson continues to shift his Hetfield-inspired cleans more front and center, which adds a bit of gravelly (albeit imperfect) familiarity amid the breakneck riffs. Mostly, it’s easy to overlook, as speedy tempos and intense brutality grace the more traditional verse-chorus formats, in an early Soilwork-esque homage. This portion of Orbit Culture’s sound focuses on the range of emotion, as fury, melancholy, pride, and desperation collide in the mix of chord progressions, vocal varieties, and tasteful synth – highlighting their admiration for film composers Hans Zimmer and Howard Shore. Offer soaring chorus punctuated by djenty start-stop riffs (“Inferna,” “The Tales of War”), while more prominent clean vocals dominate thrashier and more subdued tracks alike (“Into the Waves,” “The Path I Walk”). There’s more metalcore influences as breakdowns add much-needed breathing room (“Inside the Waves,” “Hydra”) and more melodic fretboard wizardry and galloping riffs recall As I Lay Dying’s earlier material (“Nerve,” “The Storm”).1
The deathened intensity that pervades Death Above Life showcases the Orbit Culture’s newly capitalized fury. While many of the heavier tracks do feature clean vocals (“Hydra,” “Neural Collapse”), they are largely an afterthought to the beatdown – and are better for it. Ominous ambient textures and cinematic scope make the brutality all the more intense, with climactic solos and bloodthirsty roars focusing on establishing this misanthropy. The best tracks here are “Bloodhound” and “Death Above Life,” due to their absence of clean vocals and their cutthroat quality amplified by chunky Slipknot-esque rhythms, blazing tempos, and Karlsson’s most vicious performances to date. They put Karlsson’s clean vocals elsewhere to shame, existing as too blaring in the mix and damaging certain tracks with their jarring inclusions, worsened by protracted song-lengths and grating repetition (“Inside the Waves,” “Nerve,” “Neural Collapse,” “The Path I Walk”).
Death Above Life sounds better than Descent, but like any good game of Whack-a-Mole, the stuffy production value is quelled only for Karlsson’s overloud cleans to pop up as an issue, amplified by the album’s fifty-three-minute runtime. The riffs are first-rate, the harsh vocals are vicious, and the songwriting encompasses a range of emotion that reflects Orbit Culture’s respect for film composers – but the increasingly upfront vocal attack wears thin very quickly. It’s a solid release from a band who has earned their reputation as one of extreme metal’s best in a distinct blend of nostalgic thrash and modern melodeath – I just know they could do so much better.
Rating: 2.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Century Media Records
Websites: orbitculture.bandcamp.com | orbitculture.com | facebook.com/OrbitCulture
Releases Worldwide: October 3rd, 2025#25 #2025 #AsILayDying #CenturyMediaRecords #DeathAboveLife #DeathMetal #HansZimmer #HowardShore #HumanitySLastBreath #Industrial #MelodicDeathMetal #Metallica #Oct25 #OrbitCulture #Review #Reviews #Slipknot #Soilwork #SwedishMetal #ThrashMetal
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Lightchapter – Where All Hope Begins Review
By ClarkKent
Death metal generally dabbles in the dark, the grisly, the violent, and the brutal. With the aid of ’80s-style synths, Lightchapter plays a version with a lighter, more hopeful touch. The aptly-named Where All Hope Begins marks album number two for this quartet out of Denmark. The band’s mission is to merge “despair and hope” and also “pain and joy” through not only their sound but their lyrics. Even on a blog that celebrates the angry and still makes fun of the brief Happy Metal Guy stint, I imagine something that infuses joy and lightness would find a welcoming audience. After all, Countless Skies showed how a band could successfully write an uplifting progressive death metal record, and that one was well-liked around these parts. Do we dare get our hopes up for Lightchapter?
While synth is a core part of their sound, this ain’t no dungeon synth. Lightchapter strikes a balance between old-school synth rock and more modern melodeath. Following an intro tune, “Leading the Way,” that evokes Stranger Things-style synths, “Where All Hope Begins” sets the album going on its marriage between industrial death metal acts like Orbit Culture and ’80s synth rock stalwarts like Depeche Mode. This isn’t a brutal version of death metal but a much softer approach. Guitars have more reverb than bite, cutting down on the heaviness, and the drums similarly don’t punch with the punishing heft of a Brodequin. The ’80s stuff also helps to soften the sound, with the synths providing a layer that lightens the already light guitar tone. Then there’s those familiar ’80s drum tones—the gated reverb and toms—that’ll warp you back to your carefree days listening to Duran Duran and the like. Lightchapter also features some deathcore breakdowns, though not obnoxiously (“The Unholy Mass,” “Revenge”). This blend of styles finds its most effective execution towards the end of Where All Hope Begins, particularly on the catchy “Little Death.”
Due to the lack of brutal guitars and thunderous blast beats, Where All Hope Begins turns out to be a rather chill album. This is true despite the harsh growls from Mikkel Ottosen. In fact, his vocals complement the instrumentals well. The combination of Anders Berg’s reverb guitar tone and melodic riffs and Tobias Høst’s restrained drumming makes this a surprisingly relaxing listening experience. It’s true that songs like “What I Have Become” start out fast and heavy, but the heart of the song is soft tones and chill tempos. The softer moments gave me whiffs of Slipknot’s ballads, but also the lighter tunes on Rivers of Nihil’s latest. Lightchapter doesn’t quite hit the soaring emotional highs that Andy Thomas often reached, but that’s all part of their mellow charm. The hopeful tone is a breath of fresh air in the usually dark world of death metal.
If anything lets Lightchapter down, it’s a lack of hooks. The melodic leads and synths aren’t particularly catchy for most songs, nor are the choruses all that memorable. Some exceptions show how much stronger Where All Hope Begins could have been. “Unholy Mass” features not only a great synth line, but a memorable chorus when Ottosen sings “Father, you have forsaken me.” The final three tracks unleash Lightchapter’s true potential. “Little Death” is the album highlight, utilizing a catchy riff and synth combo that emphasizes Lightchapter’s strengths. The best chorus belongs to “My Own Kind,” which is the only song that comes close to reaching those Andy Thomas-level highs, thanks to the guitar tone. Combine the hooks of the one with the cathartic emotional highs of the other, and these guys could have something great on their hands. The finished product is an enjoyable record that doesn’t quite stick—but it shows how Lightchapter can get to that point next time.
Unfortunately, Lightchapter is releasing Where All Hope Begins at the end of a hectic release month, and on perhaps the biggest release day, where it’s competing for attention with Amorphis, Mors Principium Est, and Revocation. If you’re feeling a bit overwhelmed and burned out from all of the must-listens this month, a spin or two of Where All Hope Begins could help ground you. Sometimes an album like this that tries something a little different without going off the rails is just what you need to settle your frayed nerves. Lightchapter has crafted an album that shows promise for this young band. If anything, it’ll at least give you some measure of hope.
Rating: 3.0/5.0
DR: 10 | Format Reviewed: ~175 kbps VBR mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: September 26th, 2025#2025 #30 #Amorphis #Brodequin #CountlessSkies #DanishMetal #DepecheMode #DuranDuran #ElectroDeathMetal #IndustrialMetal #Lightchapter #MelodicDeathMetal #Metalcore #MorsPrinicipumEst #OrbitCulture #Review #Reviews #Revocation #RiversOfNihil #selfRelea #SelfReleased #Sep25 #Slipknot #SynthMetal #WhereAllHopeBegins
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LINKIN PARK Returns, DEVILDRIVER Loses Their Guitarists & Other Top Stories You Might've Missed This Week#LinkinPark #Behemoth #Scorpions #DevilDriver #MikeSpreitzer #ChrisAdler #CoreyTaylor #Slipknot #Wasp #Vitriol #Hellripper #Mastodon #LambOfGod
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The 10 most exciting Metal tours of this autumn and winter that you absolutely should not miss. - https://youtu.be/0khpfXHijdI?si=TXb9VPgKta2l_JZc #metal #HeavyMetal #MetalMetalLand #MetalMusic #MetalheadClub #MetalPilgrim #DarkTranquillity #Amorphis #KKsPriest #Accept #IronMaiden #Exodus #Slipknot #Korn #Gojira #Kreator #Testament #Anthrax #InFlames #ArchEnemy #JudasPriest #WASP
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Five artists that hated working with Rick Rubin
Though Rick Rubin is a respected producer credited with a plethora of hits, there are a number of artists who disliked working with him.https://faroutmagazine.co.uk/five-artist-hated-rick-rubin/
#RickRubin #Creativity #ArtistWayOfLife #BlackSabbath #GeezerButler #Slipknot #CoreyTaylor #RedHotChiliPeppers #JoshKlinghoffer #VelvetRevolver #CedricBillerZavala #TheMarsVolta
