Text Box: Text Box: Text Box: 	Tuesday 26th August 2008
Reading Festival, blighted by sound problems and more new albums arising than you can shake a stick at. Two massive albums on offer this week– Slipknot’s 4th as well as The Verve’s, one sticks to the book, the other rips it to shreds...

 	
Text Box: Links and affiliates
Contact Me
Text Box: Slipknot– All Hope is Gone  Some surprises on
								their “heaviest album”
 Slipknot are yet another example of a band who have survived the                                                   nu-metal explosion, arguably as big as ever. Introducing themselves                                                  with a style that generally alienated them from a sceptical public on                                                debut ‘Slipknot’ and continuing that trend with follow-up ‘Iowa’,                                                             2004’s ‘Vol. 3– The Subliminal Verses’ seemed to be indicating they                                                were ready to follow a more accessible path. How wrong can you be?
 ‘All Hope is Gone’ features for the first time, all of the band writing                                                                                         material, and it shows. If they are, they certainly seem to be finding                                                 the same sources of inspiration. The album starts with a distorted, distant general preview of what’s to come, declaring prominently: “All hope is lost!”
 ‘Gematria (The Killing Name)’ is the first taste of this, which is more than just a play on their homeland. Hardcore, typical venom-ridden Corey Taylor vocals encompassed over hard and fast metal riffs. It’s old-school Slipknot without the benefit of his soulful voice, declaring:
“Start a war in another backyard/give me a bullet and I’ll change your life/we will burn your cities down!”.
 It’s powerful stuff, but not typical of the album as we were promised. The two singles ‘Psychosocial’ and title-track ‘All Hope is Gone’ are just as hard-hitting, but these aren’t the songs that embody this collection.
‘Dead Memories’ certainly will catch the average ‘Knot observer off-guard. A moving ballad about love and an indie-style “oh,oh!” chorus– you begin to check for that authenticity sticker. ‘Vendetta’ builds on this unexpected change with a sing-along “hey, hey!” bridge. It’s all very unexpected.
 Sadly not many of the songs of this new direction work very well and ‘Snuff’ is the only one that registers. An acoustic guitar, surely a redundant Slipknot instrument surfaces and works very well to construct a thoughtful and moving song. The tracks that do retain the same formula tend to be just randomized metal mash-ups with angry, anti-state lyrics.
 It is a step back from their signature material and especially Vol.3. The album features poor structure and this is exemplified by the strange decision at putting ‘All Hope is Gone’ right after the beautifully crafted ‘Snuff’. A step back by the once-untouchable Iowa metallers. 5/10 CM
Text Box: 	The Verve ’Forth’ The album most thought they would never see...

Text Box: Archive
26/7/08 Kid Rock ‘Rock N Roll Jesus/ NIN ‘The Slip’

The legendary band that nearly conquered the world, but for their well-documented love of drugs and distaste for each other, reform and return with a new album. And what do you know– everyone’s expecting Urban Hymns II. Forth could never be that– for one they aren’t off their trollies on drugs and second, they aren’t back for that reason. What Forth is, is a typically emotive, mature and powerful effort.

 Opening track ’Sit and Wonder’ is full of rhythm, soul and tremendous guitar– a terrific return to                                                      form. ’Love is Noise’ is even more audibly pleasing than that– a catchy beat, infectious hooks and of course Ashcroft’s beautiful voice flowing through it. Not exactly the sort of songs die-hard Verve fans (as in when they didn’t have the ’The’) were expecting but you must realize The Verve have taken a new funkier and new-wave direction since those drug-ridden avant-garde days.

 ’Rather Be’ however would have made it onto their previous- typically melody-rich and progressive with a vibrant musical background of McCabe and co, more than a hint of the likes of ‘Velvet Morning’ and ‘Space and Time’- song-writing at it’s purest and exactly why The Verve still have a lot to offer the industry.

 Even sombre tracks like ‘Judas’ make listenable additions with stand-out built-up vocals and melodies. ‘Numbness’ also lowers the bar but acts as a transition to the tranquil ‘I See Houses’ and the old-school Verve makes a social appearance in ‘Noise Epic’ which could easily have made it on ‘A Storm in Heaven’. Valium Skies’ is about as much of a comedown track as you will hear and was no doubt written for that mindset with the iconic line “She got all I need”. It’s a strong showing from the alternative-rock pioneers and well worth their reformation. 8/10 CM