Slipknot is an American heavy metal band from Des Moines, Iowa. The band was founded in 1995 by percussionist Shawn Crahan, drummer Joey Jordison and bassist Paul Gray. After several lineup changes in its early years, the band settled on nine members for more than a decade: Shawn Crahan, Joey Jordison, Paul Gray, Corey Taylor, Mick Thomson, Jim Root, Craig Jones, Sid Wilson, Chris Fehn. Gray died on May 24, 2010, was replaced during 2011–2014 by guitarist Donnie Steele. Jordison left the band due to illness on December 12, 2013. Steele left during the recording sessions for.5: The Gray Chapter. The band found replacements in Alessandro Venturella on Jay Weinberg on drums. After the departure of Jordison, as of December 2013 the only founding member in the current lineup is percussionist Crahan. Slipknot is well known for its attention-grabbing image, aggressive style of music, energetic and chaotic live shows; the band rose to success following the release of their eponymous debut album in 1999.
The 2001 follow-up album, although darker in tone, made the band more popular. After a brief hiatus, Slipknot returned in 2004 with Vol. 3:, before going on another hiatus and returning in 2008 with its fourth album, All Hope Is Gone, which debuted at number one on the Billboard 200 chart. After another long hiatus, Slipknot released its fifth studio album.5: The Gray Chapter, in 2014. The band has released two live albums titled 9.0: Live and Day of the Gusano: Live in Mexico, a compilation album titled Antennas to Hell, five live DVDs. The band has sold 30 million records worldwide. In the years before Slipknot formed, a state of shifting band membership existed throughout the heavy metal scene in Des Moines, Iowa. In 1991, the biggest heavy metal band in Des Moines was Atomic Opera, with Jim Root on guitar. Drummer Joey Jordison founded a thrash metal band called Modifidious, playing at a club called Runway. Modifidious opened for Atomic Opera on December 1, 1991, at the Runway, after which their guitarist left for the more successful Atomic Opera.
Jordison replaced him with local guitarist Craig Jones. Drummer Shawn Crahan formed another Des Moines band called Heads on the Wall, playing funk metal cover songs at clubs and releasing a demo tape in July 1992. A fourth Des Moines band called Vexx played death metal with Anders Colsefni on drums, Paul Gray on bass, Josh Brainard on guitar and vocals. Colsefni took over vocal duties, but Vexx never recorded. During this time, Crahan went to the Runway on Sundays when the club opened to all ages, where he met other young musicians with whom he could jam. By March 1993, Crahan was jamming with vocalist Colsefni, bassist Gray and guitarist Pat Neuwirth and playing songs in Gray's basement, discussing possible band names such as Pull My Finger, but never making a final decision. One of the songs they recorded was titled "Slipknot". In 1993, a new band called Inveigh Catharsis formed in Des Moines, with Gray on bass, Brainard on guitar and Colsefni on drums. Jordison jammed with this group. Brainard left to join Jordison and Jones in Modifidious, participating in demo recordings at the end of'93 and early in'94.
During 1994, Modifidious sometimes played the same shows as Crahan's Heads on the Wall band. Gray formed. Modifidious stopped playing in the wake of death metal's increasing pull. Gray failed to get Jordison to join Body Pit, but soon after he recruited local guitar teacher Mick Thomson, the band broke up. In September 1995, Crahan and Gray started; the lineup was made up of friends who met through the local music scene, including vocalist Colsefni and guitarist Donnie Steele. Not long after their inception, Gray invited Jordison to a rehearsal because the band was interested in experimenting with additional drum elements. Jordison subsequently joined the band as their main drummer. Furthermore, Colsefni took up percussion while remaining the band's vocalist; the band decided to invite Brainard as their second guitarist, bringing their lineup to six members. On December 4, the band made their live debut. Much of the band's early development was retrospectively attributed to late-night planning sessions between Gray and Jordison at a Sinclair gas station where Jordison worked nights.
It was there, in late 1995, that Jordison suggested changing the band name to Slipknot after their song of the same name. In December, Slipknot began recording material at a studio in the band's hometown; as they didn't have a recording contract, the band self-financed the project, the costs of which came to an estimated $40,000. In February 1996, guitarist Donnie Steele, a Christian, left Slipknot after discussions regarding the band's lyrics with the producer, Sean McMahon. Jordison said of Steele's departure: " was having these God talks, when we were supposed to be working... We were prepared to keep him on, but he didn't want to stay." Steele himself has said: "I left for a few reasons... I had a lot on my mind spiritually." During the mixing stages of their project at SR Audio, Craig Jones was recruited as Steele's replacement on guitar. However, throughout their time in the studio, the band were adding samples to their recordings but could not produce these sounds live. Subsequently, Jones became the band's sampler and Mick Thomson was brought in as the replacement guitarist.
After a complicated time with mixing and mastering, the band self-released Mate. Feed. Kill. Repeat. on Halloween, October 31, 1996. Distribution for the demo was left to the band
Jackson is a manufacturer of electric guitars and electric bass guitars that bears the name of its founder, Grover Jackson. Owned by the Fender Musical Instruments Corporation, Jackson has manufacturing facilities in the US, Mexico and China. Grover Jackson obtained part ownership of Charvel's Guitar Repair of Glendora, California in the 1970s with a promise to bolster Charvel's business. Wayne Charvel sold his interest to Grover Jackson on November 10, 1978, which gave Jackson control of the business and the Charvel name. Jackson Guitars originated in 1980 when guitarist Randy Rhoads approached the company with an idea for an individualized guitar; the collaborative design effort between Rhoads, Grover Jackson, Tim Wilson, Jackson's masterbuilder, Mike Shannon, resulted in the creation of the Concorde, an innovative revamp of the traditional Flying V. These designs were such a departure from Charvel's Stratocaster-based models that Jackson elected to label them under a different brand name.
He chose his own last name, created the first Jackson guitar. Throughout the heavy metal heyday of the 1980s, the Jackson brand was associated with high-quality, American-made, custom instruments, was endorsed by many popular guitarists of the period. In addition to the original, as they came to be known, Rhoads models, the 1980s spawned distinctively designed Jackson models such as the Soloist, King V, the Dinky, all of which remain icons of the brand; the 1990s brought changes in musical trends. While still making the high-end American-made products, brands like Jackson began producing inexpensive, Asian-made versions of their staple designs in an effort to make their products more accessible to lower-end buyers. In the Fall of 2002, Fender Musical Instruments Corporation purchased Jackson from IMC, the company which had bought Jackson from Grover Jackson, U. S. operations were moved to the Fender factory in California. Present day Fender-era Charvel guitars are being produced at the Corona works.
Fender still manufactures various lines of lower-end imports, as well. After several years of running a successful company doing sub-contracting work for many well known guitar companies and extensive design consultancy, Grover Jackson is now co-owner of a new guitar brand, GJ2 Guitars, in Orange County, California, his partner in this venture is former Fender Senior Vice President Jon Gold. Grover Jackson maintains his commitment to high quality. From the earliest beginnings until the present day, Jackson Guitars is known for its slender, elegant designs, feature aggressive motifs that are popular with hard rock and metal musicians. Traditionally, Jackson guitars share the typical pointed headstock that first appeared on Randy Rhoads's prototype in 1980; this arose from trade dress infringement issues as a result of Charvel's use of Fender Stratocaster shaped headstocks until the early 1980s. Fender's 2002 acquisition of both the Jackson and Charvel brands has enabled the Strat-style headstock to be reintroduced.
Another Jackson trademark is the'shark fin' inlays, which inspired other famous guitar companies such as Ibanez to follow suit with similar designs. Jackson guitars in production Dinky: A bolt-on superstrat with sleeker Stratocaster body, advertised as being a body 7/8 the size of a Stratocaster. Kelly: A sleeker version of Gibson's popular Explorer, made famous by Marty Friedman of Megadeth, who had a signature model made for him, the KE1. King V: A symmetric'V' shape with long pointy wings, based on, but smaller than, the Double Rhoads model designed for Robbin Crosby of Ratt, but popularized, through prolific use, by Dave Mustaine of Megadeth, who had a signature model, the KV1. Monarkh: A single cutaway guitar similar to a Gibson Les Paul. Available in both 6 and 7 string models. Rhoads: An asymmetric'V' shaped body with pointy "wings". Named for guitarist Randy Rhoads, helping to design the guitar before he died. Soloist: A neck-through body superstrat with a body advertised as 7/8 the size of a Stratocaster.
Warrior: An aggressive body style consisting of four pointy ends that mimic the Jackson headstock shape. Signature series Phil Demmel's Demmelition V: Based on the King V with cutouts on the bottom of both wings. Mark Morton's Dominion: Designed by Jackson and Lamb of God guitarist, Mark Morton. Misha Mansoor's Juggernaut: A double cutaway with elongated horns. Available in two configurations - 6 string 25.5" scale length, 7 string 26.6" scale length. Phil Collen's PC1: Dinky style with a Jackson Sustainer/Driver pickup in the neck position, DiMarzio HS2 Stacked Humbucking Pickup in the middle position, DiMarzio Super 3 Humbucking Pickup in the bridge position, Floyd Rose original locking tremolo and gold-plated hardware, it was followed by the short lived, Guitar Center only designated PC2, which only came in Amber and Red Trans finishes, with "Custom Shop" on the headstock instead of Collen's signature, the mass marketed PC3, which had Collens' signature on the headstock like the PC1. Both were a moderately priced version featuring no sustainer.
The PC2 was fitted with a Wilkinson floating bridge, where as the early PC3 came with a Wilkinson later fitted with a licensed, brushed finished Floyd Rose. Christian Andreu's Rhoads: A single humbucker, single volume Rhoads with a "G" inlay at the 12th fret. Available only in Black with a dragon tattoo. Adrian Smith's San Dimas: Based on the 1980s Jackson Custom Shop models produced for Iron Maiden's Adrian Smith. Chris Broderick's Soloist: Based on the Soloist but with a custom asymmetric arch-top design, it features stainless steel frets as well as custom DiMarzio pickups, a low-profile Floyd Rose tremolo, push
Maxon is the name used by the Nisshin Onpa company of Japan for its line of effects pedals designed for guitar and bass. The unrelated Maxon Corporation is a major global supplier of industrial heating equipment. Maxon started out in the mid 1960s as a guitar pickup manufacturer. In 1969 they became an effects pedal manufacturer as a producer of OEM products for other companies. During that time Nisshin Onpa was responsible for building a fuzz-wah pedal, popular, being marketed under a multitude of trade names including Ibanez. During the 1970s Ibanez became one of the company's main OEM customers. Nisshin Onpa designed and manufactured the now legendary TS-808/TS808 and TS9 Tube Screamers for Ibanez, many other models, including the FL9 Flanger, CS9 Chorus, AD9 Analog Delay. Nisshin Onpa marketed its pedals under its own Maxon name during this time; when Nisshin Onpa and Ibanez parted ways in 2002, Nisshin Onpa began to more aggressively market its own line of Maxon pedals. Repositioning itself as a manufacturer of high-end mass-produced effects, Maxon expanded its line of analog pedals, using rare NOS components and classic circuit designs that are to this day respected and sought after.
Maxon continues to expand its product line. Although they produced digital delays and reverbs during the 1980s and'90s, they now concentrate on "hard-to-find elsewhere" vintage type effects such as analog delays, analog choruses and flangers, classic overdrive and distortion units. Most of the old Ibanez Nine Series is available in Maxon form these days, but the Maxon pedals now include true-bypass switching and circuitry equal to or in many cases superior to the Ibanez originals; the company prides itself on a reputation of quality over quantity. Maxon's big break came. Ibanez Tube Screamers were built by Maxon from 1974 until 2002. If you take the cover off any Ibanez TS-808/TS808 or TS9, other Ibanez pedals from this period, the Maxon name will appear on the circuit board; these Maxon manufactured Ibanez pedals became famous through users such as Stevie Ray Vaughan, Eric Clapton, Rory Gallagher, Carlos Santana and Gary Moore, amongst many other famous users. Ibanez still make these classic pedals but using different circuitry, thus losing some of the classic Tube Screamer tone, hence the Maxon models are so sought after.
Maxon still makes these pedals today under their own company name. However, supply of these pedals is short and because of this, the Maxon pedals using the original Tube Screamer circuitry are little known and overlooked. Maxon manufacture around 23 effects pedals for guitars. Nisshin Onpa has manufactured pickups for Aria and Greco guitars; the Ibanez "Super 70" and "Super 58" pickups and the Greco "UD", "U-1000", "U-2000", "PU-x" and "Dry Z" pickups were made by Nisshin Onpa. Ibanez and Greco Nisshin Onpa pickup serial number format consisting of 5 numbers up to and including 1977. Ibanez Super 70 pickups have the same serial number format. First number = Nisshin Onpa pickup code Second number = Year Third number = Month Fourth and Fifth number = Day of Month Ibanez and Greco Nisshin Onpa pickup serial number format consisting of 6 numbers from 1977 to 1982. First number = Nisshin Onpa pickup code Second number = Year Third and Fourth number = Month Fifth and sixth number = Day of Month Ibanez "Super 70" and Greco "U-1000" pickups had an alnico VIII magnet.
Greco "U-2000" and "PU-x" pickups had an alnico V magnet. Ibanez "Super 58" and Greco "Dry-Z" pickups had an alnico III magnet. Ibanez "Super 80" pickups had a ceramic magnet. All of the above pickups DC resistance is 7.5-8.0 kilohms. On its website, Maxon claims several firsts in the effects pedal industry: the first realistic tube amp overdrive, the first compact analogue delay, the first programmable effect, the first multi effect unit. D&S II Distortion/Sustainer PT999 Phase Tone CP101 Compressor D&S Distortion/Sustainer GE601 Graphic Equalizer OD808 Overdrive AD-999 Analog Delay AD-999 Pro Analog Delay CS-550 Stereo Chorus DS-830 Distortion Master OD-820 Overdrive Pro PH-350 Rotary Phaser AD-9 Pro Analog Delay AF-9 Auto Filter CP-9 Pro+ Compressor CS-9 Stereo Chorus Pro FL-9 Flanger OD-9 Overdrive OD-9 Pro+ Overdrive OOD-9 Organic Overdrive OSD-9 Overdrive/Soft Distortion PT-9 Pro+ Phase Shifter SD-9 Sonic Distortion VOP-9 Vintage Overdrive Pro SM-9 Super Metal 9 distortion PAC-9 Pure Analog Chorus RCP 660 Real Compressor ROD 880 Real Overdrive ROD 881 Real Overdrive/Distortion ASC10 Ambient Stereo Chorus AD10 Analog Delay DB10 Dual Booster Although Maxon pedals are overlooked by guitarists for the Ibanez models, there are still artists using them.
These include: Peter Buck of R. E. M. Rusty Cooley Buddy Guy Brownsound of Sum 41 Marty Friedman Pearl Jam Monster Magnet Chris Chaney of Jane's Addiction Gary Rossington of Lynyrd Skynyrd Troy Van Leeuwen of Queens of the Stone Age Dave Sabo of Skid Row Jim Root of Slipknot, Stone Sour Morrissey guitarist Jesse Tobias Brad Whitford of Aerosmith Steve Stevens of Billy Idol Adam Dutkiewicz of Killswitch Engage Thomas Erak of The Fall of Troy Nergal of Behemoth Kyle Shutt of The Sword Dekel Bor Matt Mondanile of Real Estate and Ducktails Maxon USA website Guitarist magazine, Issue 273, February 2006, p. 122-127
Joel McIver is a British author. The best-known of his books is the best-selling Justice For All: The Truth About Metallica, first published in 2004 and appearing in nine languages since then. McIver's other works include biographies of Black Sabbath, Thunder, Ice Cube and Queens Of The Stone Age, his writing appears in newspapers and magazines such as The Guardian, the Daily Telegraph and Classic Rock, he is an occasional guest on BBC and commercial radio and television. McIver has written 30 English-language books since 1999, with at least 75 more editions available in various other languages. In the introduction to Neil Daniels' 2009 book All Pens Blazing, veteran writer Martin Popoff described McIver as "probably the top scribe in the world". In a review in April 2012, Classic Rock magazine described him as "by some distance, Britain's most prolific hard rock/metal author"; as well as writing his own books, McIver co-writes the autobiographies of rock musicians. The first of these was the memoir of sometime Deep Purple bassist Glenn Hughes, published in 2011.
Other autobiographies written by McIver include those of Max Cavalera and Megadeth bass player David Ellefson, which include forewords by Dave Grohl and Alice Cooper respectively. In April 2016 Pan Macmillan announced the publication in the year of sometime David Bowie drummer Woody Woodmansey's autobiography, Spider From Mars: My Life With David Bowie, for which McIver is Woodmansey's co-writer; the book includes a foreword by friend Tony Visconti. Since 2012, McIver has been the Editor of Bass Guitar magazine, performs as a bass player, he co-hosts a podcast called Dead Rock Stars with fellow writer Mick Wall. In June 2018, the Guardian named Dead Rock Stars their podcast of the week. McIver is the University of Edinburgh; as Editor of Bass Guitar magazine, McIver received the 2018 Award of Excellence for Best Educational Project from the Players School of Music in Clearwater, Florida. The same year, Sony's 35th-anniversary-edition reissue of The Alan Parsons Project's 1982 album Eye In The Sky, for which McIver wrote extensive liner notes, won its category at the annual Prog magazine awards.
Parsons, along with surround mastering engineers Dave Donnelly and PJ Olsson, won the Grammy Award for Best Immersive Audio Album for the box set at the 61st Annual Grammy Awards. Extreme Metal Slipknot: Unmasked Nu-Metal: The Next Generation Of Rock And Punk Ice Cube: Attitude Erykah Badu: The First Lady Of Neo-Soul Justice For All: The Truth About Metallica Extreme Metal II No One Knows: The Queens Of The Stone Age Story The Making Of The Red Hot Chili Peppers' Blood Sugar Sex Magik The Making Of The Sex Pistols' The Great Rock'n'Roll Swindle Sabbath Bloody Sabbath The Bloody Reign Of Slayer The 100 Greatest Metal Guitarists Unleashed: The Story Of Tool To Live Is To Die: The Life And Death Of Metallica's Cliff Burton Holy Rock'N'Rollers: The Kings Of Leon Story Crazy Train: The High Life And Tragic Death Of Randy Rhoads Overkill: The Untold Story Of Motorhead Machine Head: Inside The Machine Ultimate Rock Riffs Know Your Enemy: Rage Against The Machine Sinister Urge: The Life And Times Of Rob Zombie The Complete History Of Black Sabbath: What Evil Lurks Deep Purple And Beyond: Scenes From The Life of a Rock Star My Life With Deth: Discovering Meaning In A Life Of Rock & Roll My Bloody Roots: From Sepultura To Soulfly And Beyond Glen Matlock's Sex Pistols Filthy Lucre Photo File Bible Of Butchery: Cannibal Corpse, The Official Biography Thunder: Giving The Game Away: The Official Biography Spider From Mars: My Life With David Bowie Official page on Facebook
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s in the United Kingdom. With roots in blues rock, psychedelic rock, acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by amplified distortion, extended guitar solos, emphatic beats, overall loudness; the genre's lyrics and performance styles are sometimes associated with machismo. In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep Purple were founded. Though they came to attract wide audiences, they were derided by critics. During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers". During the 1980s, glam metal became popular with groups such as Mötley Crüe.
Underground scenes produced an array of more aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Slayer and Anthrax, while other extreme subgenres of heavy metal such as death metal and black metal remain subcultural phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre; these include groove metal and nu metal, the latter of which incorporates elements of grunge and hip hop. Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, vigorous vocals. Heavy metal subgenres variously alter, or omit one or more of these attributes; the New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, a singer, who may or may not be an instrumentalist.
Keyboard instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; the electric guitar and the sonic power that it projects through amplification has been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music. Thrash metal guitar tone has scooped mid-frequencies and compressed sound with lots of bass frequencies. Guitar solos are "an essential element of the heavy metal code... that underscores the significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", "a primary means through which the heavy metal performer expresses virtuosity"; some exceptions are nu grindcore bands, which tend to omit guitar solos.
With rhythm guitar parts, the "heavy crunch sound in heavy metal... palm muting" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end; the lead role of the guitar in heavy metal collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims; the prominent role of the bass is key to the metal sound, the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy"; the bass plays a "more important role in heavy metal than in any other genre of rock". Metal basslines vary in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars.
Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead played overdriven power chords in his bass lines; the essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed and precision". Heavy metal drumming "requires an exceptional amount of endurance", drummers have to develop "considerable speed and dexterity... to play the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and immediately silencing it by grabbing it with the other hand, producing a burst of sound; the metal drum setup is much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and blast beats". In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's description—is considered vital.
In his book Metalheads, psychologist Jeffrey Arnett refers to heavy me
Revolver is a metal music and hard-rock magazine, publishing in North America. It has been in print for over 16 years, is about both established acts and up-and-comers in heavy music. Revolver underwent a brand relaunch, including a redesigned print edition and website, intended to embody the art and culture of heavy music; the magazine was owned by Harris Publications, Future US, NewBay Media, but Project M Group LLC bought Revolver in 2017. Official website
Iowa is the second studio album by the American heavy metal band Slipknot. Released by Roadrunner Records on August 28, 2001, it was produced by Ross Slipknot; the title derives from the band's home state, which members have stated is one of their greatest sources of inspiration. With much anticipation for the album following the success of their 1999 self-titled debut, pressures on the band were high, their relationships with each other suffered and this was described as the darkest time of their career. It was the first time that Jim Root had been involved in a Slipknot album, the guitarist having featured on only two songs from their debut, due to his joining late in the recording of that release. Despite troubles within the band and with Iowa's development, Slipknot promoted it for a year. Iowa was a major success. Positively received, it includes some of their notable songs, such as "Disasterpiece", "The Heretic Anthem", "People = Shit" and the Grammy-nominated "Left Behind" and "My Plague".
While more technical than their debut, Iowa is considered the band's heaviest and darkest album. It has been certified platinum in the United States and Canada. With a runtime of 66 minutes and 19 seconds, Iowa is the band's longest album. In addition to being their longest album, it contains their longest song to date, the title track. A special edition of Iowa was reissued on November 2011 to celebrate its tenth anniversary, it was accompanied by full live audio of the hit DVD Disasterpieces and a film entitled Goat directed by Shawn Crahan, with the four music videos, never-seen-before interviews and footage from the Iowa period. Iowa was recorded and produced at Sound City and Sound Image studios in Los Angeles, California with producer Ross Robinson, who had produced their debut album. Drummer Joey Jordison and bassist Paul Gray began working on new music together in October 2000, wrote material for most of the album. During this time, other members took a break after the extensive touring that had followed their debut.
However, on January 17, 2001, Slipknot entered the studio to begin recording new material. This period in the band's career became known as one of their worst. Jordison recalled, "That's where we got into a war," citing the lack of a break for himself and Gray.. Other factors, including vocalist Corey Taylor's alcohol addiction, other members' drug addictions, management issues affected relations in the band."Recording Iowa was fucking hell," recalled Shawn Crahan. "I wanted to kill myself. There was drugs, rock'n' roll, all that shit. People expected so much of us then.'People = Shit' was our way of saying,'Fuck off and leave us alone.'" "There was nothing happy about Iowa," confirmed Taylor. "All of a sudden we were these metal stars and we weren't planning for it… We'd all got caught up in the lifestyle and the problems that come with that. A darkness set in at the beginning of Iowa that none of us quite recognised." Jordison, noted, "Iowa more than the first record, was the album we wanted to make."It was the first album where guitarist Jim Root had been involved, after joining during the recording stages of Slipknot.
During an interview with Guitar magazine in November 2001, Root explained, "It was so exciting as well as scary to be part of this whole huge process," adding that there was a lot of pressure from fellow guitarist Mick Thomson to perform well. To FHM, Taylor revealed that he put himself in specific situations to achieve his performance on the album. While recording vocals for the final song "Iowa", he was naked, vomiting all over himself, cutting himself with broken glass. "That's where the best stuff comes from," he explained. "You've got to break yourself down before you can build something great." While producing the album, Ross Robinson was injured in a dirt bike accident, suffering a fractured back in the process. He returned to the studio after a day of hospital treatment "putting all of his pain into the album", much to the admiration of the band. Prior to its release, members promised a much darker and heavier album than Slipknot, many sources praised the band for fulfilling their promises.
In 2008, percussionist Shawn Crahan recalled: ``, we hated each other. We hated the world; the band was praised again for its use of an extended line-up consisting of additional percussionists and programmed samples. NME stated that "every possible space is covered in scrawl and cymbals: guitars, electronic squall, subhuman screaming." Although Iowa became regarded as the band's heaviest album to date, some tracks included melody, most apparent in "Everything Ends", "My Plague" and "Left Behind". On the album's thirteenth anniversary, Revolver looked back on the album as "their most extreme album yet", they compared several songs, namely "Disasterpiece," "People = Shit" and "The Heretic Anthem" as more death metal-influenced than most of the nu metal that the album contained. While the album does have elements of hip hop music, Iowa has less hip hop elements than Slipknot's self-titled album, focusing more on elements of genres such as death metal and thrash metal. Iowa follows the lyrical style.
The album includes many expletives.