#metal edge 48-11 mar 2003

[in-death-we-fall]

Murderdolls

Love at First Sight

Metal Edge 48-11, March 2003

By Roger Lotring Photos By Eddie Malluk

(google drive link) Slipknot interview here – Stone Sour interview here

There are probably less than two hundred people at the Webster Theater. It’s Tuesday night in Hartford, CT, and the Murderdolls are in town to tutor a whole new generation on the fundamentalism of real rock ‘n’ roll. Without the vacant hype of Madison Avenue trendiness, their renascent timelessness is lost so far on the youth of a nation. But that’s about to change. They seize the stage with an adrenaline overdose that probably hasn’t happened since Mötley Crüe first molested Hollywood’s Sunset Strip over twenty years ago. The Murderdolls are glorious rock ‘n’ roll sluts in a manner desperately lost from contemporary music, and definitely lost on those two standoffish fuckers provoking the band with drunken taunting. Vocalist Wednesday 13 swings around to leap to the edge of the stage, leaning forward to dare them with confrontation. But they don’t respond—They can’t, even if they had the balls, because the kids are right in their faces. That pissed-off look in those kids’ eyes, their vehement willingness to defend their band, it’s a defining moment that marks this band as something special. For those couple hundred kids here in Hartford on a Tuesday night, they believe in the Murderdolls. Love at first fright, indeed, and it’s only a matter of time before the word spreads.

“There’s nothing better than that first time seeing a band,” enthuses guitarist Joey Jordison, recalling his own formative rock ‘n’ roll indulgences. “It’s so special, when no one else knew who the fuck they were, and they were your fucking band.” The impact of his influences–and those of the whole band, really—are just as prevalent today as they were back then. It’s obvious as the band prepares for the show with their battle cry of KISS Alive II shaking the dressing room walls. KISS, Alice Cooper, Hanoi Rocks, Twisted Sister—That is the essence of the Murderdolls. “We wanted him to come out and do ‘Twist My Sister’ with us,” guitarist Acey Slade says of Dee Snider, disappointed that he is no longer broadcast on Radio 104 WMRQ in Hartford.

Metal Edge sat down with Joey, Wednesday and Acey to discuss the Murderdolls. And while the conversation touched on numerous topics including their Beyond The Valley Of The Murderdolls debut, touring Europe, and drummer The Ghoul’s exhibitionism with two women in a crowded Japanese bar, at the heart of it were rock ‘n’ roll fans sharing their obsession with a sound that the Murderdolls are single-handedly determined to resurrect.

METAL EDGE: Where does a band like the Murderdolls fit within contemporary hard rock? Or is it more important to go against the grain of popularity? JOEY JORDISON: That was our point, exactly what you just said. The whole thing was–especially with me coming out of Slipknot—I did not want to do anything even remotely where music is right now. I wanted to come out completely different, and just create music that’s a little bit more fun, because everything right now is stagnant and stale. I think, really, the nu metal scene, where hard rock is right now, is almost like a dead scene. We wanted to be completely removed, as far as possible, from all that stuff. WEDNESDAY 13: It wasn’t that hard, either, because we really didn’t have to try. We just wrote the songs, recorded them, and didn’t think about anything outside the studio. JJ: What he was doing in the Frankenstein Drag Queens was pretty much a lot of what we’re doing now. Wednesday was one of the only people I saw in the underground scene that was doing what I was doing. That’s cool, because he doesn’t know about many bands that are out right now and really big—All that stuff that Slipknot gets lumped into.

ME: Joey, being the writer, producer, and principal musician on Beyond The Valley Of The Murderdolls, was it hard to be objective toward the songs? JJ: I was having a hard time, like is this even worth putting out or not? That’s why I wanted to get a songwriting partner. I really liked Wednesday’s voice, and the way he looked. His songs were very similar to what I was doing, but had a little darker feel to ‘em, and the sense of humor was a little bit more tongue-in-cheek. If I was not sure on something, he'd give me an opinion. If he wasn't sure on something, I'd give him my opinion. It made it a lot easier for the recording process, for sure.

ME: What's the most surprising reaction so far to the Murderdolls? What have you seen that you just kind of stepped back and said, "I don't believe I just saw that?" W13: We got a human heart given to us by a girl who had all our names carved into her arm—Even the band name. But, with me, she told me, "Well, I couldn't write your whole name, so I put a 'W' and a '13'." JJ: She's like, "I want to give you my heart, 'cause my heart belongs to the Murderdolls. Hold onto it safe, "cause I might need it back someday." And it had a picture of her and me with it in a fucking jar… W13: Floating around in the formaldehyde.

ME: To what degree has there been any moral backlash as a result of misinterpretation of your lyrics? ACEY SLADE: When we were in Germany, there was a Christian group that went around and put Show Cancelled (sic) over the top of our posters, so people won't (sic) show up for the show. I saw the shit [written] in German, and I was like, "Sold out! Right on, that means sold out!" They're like, "No, Show Cancelled (sic)." [Laughter] W13: But nothing really, really good has happened, though. We're still waiting… And hoping, keeping our fingers crossed. [Laughter]

ME: Do you think that will eventually happen? JJ: Most of that backlash stuff is an American thing. Over in Europe—actually, anywhere besides America—is way more open to the fun aspect. They see the humor in what we're doing, especially the U.K. Their type of humor kind of goes along hand-in-hand with our type of lyrics.

ME: It would seem that as far as any controversy, there's been more uproar over the "body snatching,” so to speak, of Acey from Dope. [Acey laughs] It's almost like one of those jokes: How many Dope guitarists does it take to screw in a Murderdolls lightbulb? [Laughter] JJ: Y'know, that's weird, 'cause I liked Dope. I was actually a fan of theirs. I really enjoyed them a lot, [and] thought they were great. And it was never a thing like, "Oh man, I want to get people from that band." I just hit it off well with them. Tripp was a great guy. It just came down to the time when we were going to tour, and he comes up with news that he had to go back to Static-X. Well, that's cool, but he wanted to stay in the band and play some [select] shows. I just didn't want to have a revolving door and confuse the fans. Acey was actually a choice to be in the [pre-Murderdolls] Rejects, as well, just Tripp came into the band first. Me and Acey kept in touch, so the only choice we even considered was Acey. Luckily enough, he came in and did an amazing job. He had like six days rehearsal just before we started our tour. AS: Not even. I came in on a Wednesday or Thursday. We left [the following] Monday. [Laughter] W13: Plus, me and Acey, we used to play in bands together in Philadelphia, before he was in Dope. We knew of each other, so we were into the same kind of music then. I met him back then, then when he was in Dope, I met him again and we started talking. AS: Back in ‘96 or ‘97, we were the only two guys on the East Coast with dreadlocks and eyeliner, so it wasn’t too hard for us to cross paths. So I’ve known him for years and years.

ME: From a musical standpoint, people don’t realize that what the Murderdolls are doing is very fundamental, but it’s a lot harder to learn because there’s a lot of intuitive stuff. AS: The thing is, we all have the same musical roots. For me it was like, “Alright, this part’s kind of like ‘Rock And Roll High School,’ this part’s kind of like Hanoi Rocks’ ‘Mental Beat.’” All three of us have the same point of reference. I think it would probably be a little harder from the nu metal school to come in and learn the stuff, ‘cause it would be so foreign to them.

ME: In a fatalistic kind of way, then, Murderdolls has actually been coming for a long time. JJ: Yeah, there’s been a bunch of links, but it’s not like this was just all of a sudden really formulated. It’s like, everyone knew each other in a weird, different way. We just didn’t all meet as a band until last year. But everyone knew each other through different people.

ME: But isn’t that how it’s theoretically supposed to happen if you’re going to do it right, so it’s not contrived? JJ: Exactly, man. People might think that, all of a sudden, it was just put together really quick, this little project that’s only going to be one album, and that’s it. It’s really not like that.

ME: Media comparisons have been to Mötley Crüe and the Misfits, but there’s so much more going on. Is there a predominant underlying influence behind the Murderdolls that might not be readily apparent? W13: I think we all have our different things. Me, it’s Alice Cooper, totally. And Acey, Hanoi Rocks, and Joey, KISS. I mean, it’s a lot of the same stuff, but I don’t think you can really pinpoint it al.

ME: Similarly, media focus is on Wednesday and Joey—and now Acey, coming from Dope. In all fairness, what do Ben [Graves] and Eric [Griffin] bring to the Murderdolls? AS: Well, first of all, Ben’s not Ben… He’s The Ghoul. [Laughter]

ME: Is that a capital “T” in the word “the”? AS: Yes, The Ghoul. JJ: I had the hardest time finding people that I actually wanted to bring into the band on bass and drums—Especially with drums. It took a really long time, and they just seemed to fit. I can’t really explain, but hey just brought that attitude—I guess the cockiness, in a way. Ben’s like the hardest hitting drummer that I’ve ever seen in my fucking life. He is so fucking loud. W13: I’ve played with some hard-hitting drummers, but he is so loud, and so hard. JJ: And that’s great! I mean, it drives our fucking music.

ME: But you’ve got to have that for this type of music to work. JJ: Exactly! He’s fucking great, man, as far as just slamming it home live. You can feel it. I mean, the energy is amazing that comes off that guy.

ME: Is it harder for him, in the sense that you’re a drummer, and going to be his worst critic? [Laughter] JJ: He’s cool about it. Actually, he doesn’t really even get that nervous. When I was working with him in rehearsal, I did kind of drill him, ya’ know? He did get it worse out of all the guys in the band, for sure. But he just worked his ass off, really, and he pulls it off amazing. W13: And [Eric] brings a lot of hairspray. [Laughter] AS: He brings a lot of hairspray, some good makeup products, and no less thunder. JJ: And tardiness. W13: This guy’s just really got the whole image of the rock ‘n’ roll thing down. AS: It’s kind of funny, how people ask us about the image of the band. To me, if you wake up and look the way you do, then it’s not an image. An image is something that’s formulated and calculated. We don’t have a consultant telling us, “Alright, track suits aren’t in as much as they used to be.” This is just who we are, ya’ know?

ME: But does your look empower you, as far as performing the music? If you think about it, you must feel differently than if you were going onstage wearing sneakers and levis. W13: It definitely turns something on for me when I go onstage. I mean, it definitely helps. It’s like, it turns it on. It’s just a switch.

ME: Being that Joey was responsible for pretty much all the performances on the album, how have the dynamics of these songs changed, now that you’ve got five individuals interpreting them? JJ: The album is really good, [and] I’m very, very proud of it. I think it turned out phenomenal—Actually, better than I expected. It is different, though, much more of a chemistry with the five guys, as opposed to me. Not necessarily completely different, but the vibe of the five different personalities playing some songs.

ME: Almost like the songs taking on a life of their own that they didn’t have before? JJ: Absolutely, yeah. AS: What Joey’s been really cool about is letting it become a chemistry, letting it become the Murderdolls. When I came into it late, I was looking at the CD, going, “Well, Joey played all these guitar parts.” When we sat down in the [rehearsal] room together, I was intimidated! But he was like, “Well, yeah, that’s cool, I like that accent… What do you think?”

ME: So you’ve been able to make your impact on the songs. AS: Yes, but keeping the original continuity. But it’s the same with The Ghoul, or with the other members.

ME: Are the songs continuing to evolve, even after being recorded? Watching you soundcheck “Love At First Fright,” that looked like you just stumbled across something brand new right there. W13: [Laughter] We did! That was the first time we did a different intro.

ME: How different has the reaction been in Europe than here in the United States? W13: We’ve really been touring there a lot, so we’ve built up a thing there—Especially in the U.K., man, it’s just insane. Hundreds and hundreds of kids, and they all look just like us. But we really haven’t worked it here, though, so this is like we’re just starting from the ground up. JJ: But that was kind of what we wanted to do, concentrate on everywhere else in the world first and establish the band. Those people [in Europe] really appreciate when you do that over there. Some bands, like American bands, nu metal bands, wait two years before they even go to Europe. We’re like, fuck that! And it’s already paid off. It’s only now that we are really going to start hitting America.

ME: Does it make it a little more difficult, though, having gotten such a reaction, then coming back to America? You must have known going into it that you are going to be playing to smaller audiences at first. W13: I prepared myself for it. I knew it was going to be hard. I know it’s a lot different, maybe for Joey, who’s in Slipknot. But before this, i was driving ten, twelve hours to play in front of ten people. That’s never going to leave me. I’m always used to that, so I can work an audience, whether it’s ten people, or ten thousand people, it doesn’t really matter. JJ: Doing what I do in the other band that I play in, it’s basically playing in arenas. But it doesn’t matter, man. As long as people appreciate your music, or want to come out and see you, i can still play in front of two people. AS: It’s weird, even though we’ve done dates, i still don’t feel like we’ve done a proper U.S. tour yet. And so, when we do that—probably February—I think all bets are going to be off. It’s gonna be off the hook.

ME: You’re going out with Papa Roach? Or are you going out on your own? JJ: We gotta get a (sic) on a support slot for a band, obviously bigger than us, to take the band out to a little bit wider of an audience. Papa Roach is an option, [and] there’s a couple other things that are in the works.

ME: Do you look forward to the fact that it’s going to be a challenge? If you’re out with a band that isn’t necessarily similar to what you do, you’ve got that challenge of winning over an audience. W13: We did. We did it with Papa Roach in Europe. We toured with them, five, six weeks, [and] every night…

ME: You’re getting the looks on faces, the “What the fuck is that?” look. W13: That’s exactly it. JJ: It was every night. And like, four songs in, they’d be smiling, singing the words, ‘cause our shit’s singalong. It’s so anthemic live, it’s so hard not to get into it. One of the big things about our band is that it’s a fun show. It’s fucking fun again. It’s something that’s been really missing [from music], probably like fifteen years.

ME: From that standpoint, I get it because I remember. But does the 14-year-old kid standing in front of you, wearing the Slipknot shirt get it? JJ: Good question. I think yes, by the end of the set, he does. You don’t have to be a fuckin’ brain surgeon to understand what the fuck we’re doing. But I think that’s what’s great about it. It’s simple, and it’s anthemetic (sic). The lyrics are fucking cool, and it’s not about fucking childhood trauma, or war, politics, or bullshit like that.

[edenplantation]

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180,female,Danish,Mrs.,Ella,D,Christoffersen,"Třebčická 605","Nepomuk 1",PL,"Plzenský kraj","335 01",CZ,"Czech Republic",EllaDChristoffersen@dayrep.com,Facteneve,eiXee0eig1n,"Mozilla/5.0 (iPad; CPU OS 10_2_1 like Mac OS X) AppleWebKit/602.4.6 (KHTML, like Gecko) Version/10.0 Mobile/14D27 Safari/602.1","737 963 893",420,Thorsen,12/12/1990,26,Sagittarius,Visa,4532585202044045,296,4/2022,,"1Z 7Y4 177 55 9996 568 9",8230113931,52090363,Purple,"GED teacher",Heilig-Meyers,"2001 Nissan Xterra",USHealthProvider.cz,B-,140.8,64.0,"5' 8""",173,2ea3b178-7c8d-4105-b14b-40cfac65edf5,49.403479,13.522095

181,male,"Russian (Cyrillic)",Mr.,Прокл,А,Измайлов,"756 Langley St",Hartenbos,WC,"Western Cape",6520,ZA,"South Africa",Tolds1951@gustr.com,Tolds1951,Ti2Aishiiwoh,"Mozilla/5.0 (Macintosh; Intel Mac OS X 10_12_2) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/55.0.2883.95 Safari/537.36","084 467 8887",27,,6/4/1951,65,Gemini,Visa,4556907452895184,615,8/2022,5106045680188,"1Z 430 127 28 4574 870 9",1914191027,29119572,Red,Archaeologist,Grossman's,"2004 Nissan Terrano II",MoonLightdining.co.za,B+,229.5,104.3,"5' 7""",171,0fd0042b-1797-4802-b3d6-c6442d1a2f72,-34.018051,22.100718

182,female,Persian,Mrs.,رژین,م,کسایی,"Clematisvænget 27",Vestbjerg,NO,"Region Nordjylland",9380,DK,Denmark,RejeanKesaaa@armyspy.com,Hationger64,Aeghah4angi,"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/55.0.2883.87 Safari/537.36",27-77-15-89,45,خاکباز,8/15/1964,52,Leo,MasterCard,5580078611227326,635,11/2020,150864-3914,"1Z 667 05A 88 8571 645 2",2699995934,74003113,Green,"Scheduling clerk",CompuAdd,"2003 Citroen C 15",TVDivision.dk,A+,122.3,55.6,"5' 2""",157,4c87ca92-de90-464e-851e-a96c1a26ef43,57.224991,9.971681

183,male,American,Mr.,Luis,M,Blake,"Prinsenstraat 248",Louveigné,WLG,Liège,4920,BE,Belgium,LuisMBlake@fleckens.hu,Monsun,ee1Aiyeem2p,"Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36","0497 47 22 99",32,Glenn,12/22/1972,44,Capricorn,Visa,4556137938776945,511,5/2019,,"1Z 447 990 15 5374 821 5",8619206645,90356217,Blue,"Personnel training officer","Paul's Food Mart","2004 BMW 318",TestClicks.be,O+,182.2,82.8,"5' 6""",168,9ba322bb-22be-4c0c-b5c6-dac3e80ef529,50.576283,5.771948

184,female,Hispanic,Ms.,Johanna,A,Llarnas,"274 Arnis Street",Patriki,FA,Famagusta,5732,CY,"Cyprus (Anglicized)",JohannaLlarnasPalomino@cuvox.de,Clar1934,afan4gaiTh,"Mozilla/5.0 (X11; Linux x86_64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36","96 715199",357,Palomino,6/27/1934,82,Cancer,Visa,4539522473895360,609,6/2020,,"1Z 4W7 980 42 7171 029 6",8239764054,27954636,Purple,Bodyguard,"Henry's Hamburgers","2012 Alfa Romeo Giulietta",MyThreat.com.cy,A-,187.2,85.1,"5' 5""",165,c9bcdd3d-c984-4889-bcc4-42d6a862dcc8,41.399355,-72.900833

185,female,"Japanese (Anglicized)",Ms.,Rieka,R,Takai,"P.O. Box 131",Aasiaat,QA,Qaasuitsup,3950,GL,Greenland,RiekaTakai@rhyta.com,Whispiever,Bashoo4pah,"Mozilla/5.0 (Macintosh; Intel Mac OS X 10.10; rv:51.0) Gecko/20100101 Firefox/51.0","89 75 38",299,Oyama,5/9/1952,64,Taurus,MasterCard,5197843764809492,658,3/2019,,"1Z 48F 508 25 6867 669 4",5575812482,70958669,Orange,Tester,"Eagle Hardware & Garden","2005 Toyota Yaris",SpotApps.gl,A+,168.7,76.7,"5' 5""",164,4b1ae2aa-95ee-4797-859b-ef60f6c379b4,68.777749,-52.794563

186,female,"Japanese (Anglicized)",Ms.,Aino,I,Mochizuki,"ul. Wrzosowa 32",Warszawa,,,04-914,PL,Poland,AinoMochizuki@einrot.com,Emper1951,hoox2lieSh,"Mozilla/5.0 (Macintosh; Intel Mac OS X 10_12_3) AppleWebKit/602.4.8 (KHTML, like Gecko) Version/10.0.3 Safari/602.4.8","78 620 67 48",48,Kamei,4/12/1951,65,Aries,Visa,4716564122903083,286,11/2018,51041279863,"1Z 684 29A 22 6978 159 1",7234878367,33691525,Yellow,"Structural metal fabricator","Creative Wealth","1994 Honda NSX",Inrails.pl,A+,162.8,74.0,"5' 2""",158,26eb1947-2134-499a-9c83-17fa793d0f5b,52.315833,20.957114

187,male,"Chechen (Latin)",Mr.,Sultanbek,M,Masaev,"Gasteiner Strasse 36",FREITZENSCHLAG,NO,"Lower Austria",3920,AT,Austria,SultanbekMasaev@gustr.com,Wifir1979,Ohw3ahJoo0P,"Mozilla/5.0 (Windows NT 10.0; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/55.0.2883.87 Safari/537.36","0680 908 22 88",43,Bazhaev,11/23/1979,37,Sagittarius,Visa,4916732355283733,923,7/2021,,"1Z 033 902 32 1702 754 9",2457063696,25947702,Red,"Oral radiologist","Eagle Hardware & Garden","2007 Lancia Lybra",BizFlippers.at,B+,251.7,114.4,"5' 9""",176,35cbb6fa-7264-4982-93af-b2700661d386,48.599579,14.878159

188,male,Norwegian,Mr.,Alexander,N,Lid,"Kronwiesenweg 144",Krinau,,,9622,CH,Switzerland,AlexanderLid@teleworm.us,Polowealm,yahlohR3ohph,"Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36","071 239 26 16",41,Ahmed,2/17/1978,39,Aquarius,Visa,4929611922102417,739,6/2022,,"1Z 003 099 23 7602 184 0",4121056022,22740762,Orange,"Intercity bus driver","Murray's Discount Auto Stores","2007 Chrysler Aspen",GamingTapes.ch,B+,139.9,63.6,"5' 6""",167,8872da9b-5673-4b51-b77d-cf0f74cbea7d,47.345645,9.097605

189,male,Persian,Mr.,خسرو,ی,تقوایی,"93 Little Myers Street",BROOKFIELD,VIC,Victoria,3338,AU,Australia,KhesrewTeqwaaa@gustr.com,Smailed,Meinoe8hahQu,"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/51.0.2704.79 Safari/537.36 Edge/14.14393","(03) 8040 5059",61,علایی,2/14/1970,47,Aquarius,MasterCard,5270728087945570,523,6/2021,,"1Z 645 A79 53 4053 255 1",9868371267,29634474,White,"School librarian","Handy Dan","2014 Jaguar XJ",AtlantisGuide.com.au,O+,179.7,81.7,"5' 6""",168,04efda4d-023d-4f48-9d98-03349c883ec1,-37.837804,144.51205

190,male,Arabic,Mr.,Omar,R,Tannous,"Rua Celso Corrêa 895",Votorantim,SP,"São Paulo",18115-460,BR,Brazil,OmarRaghibTannous@superrito.com,Worper,ac7Uquait2v,"Mozilla/5.0 (Windows NT 6.1; WOW64; rv:51.0) Gecko/20100101 Firefox/51.0","(15) 4400-3035",55,Nader,5/30/1943,73,Gemini,Visa,4532380742450633,161,12/2021,444.632.720-84,"1Z 27W 1F0 51 8831 485 6",2506276061,34450436,Silver,"Insurance adjuster","Asiatic Solutions","2012 Mazda MazdaSpeed3",DialPromotions.com.br,O+,203.3,92.4,"6' 0""",182,6878d377-e7e2-4191-bc36-e49c93ffbb25,-23.511531,-47.38119

191,male,Thai,Mr.,จตุรพร,ซ,ศรีเรือนคำ,"44 Circle Way","CAISTOR ST EDMUND",,,"NR14 7RU",GB,"United Kingdom",,Thance,seishaex0A,"Mozilla/5.0 (Macintosh; Intel Mac OS X 10_11_6) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36","077 8768 6067",44,แสงนาค,8/15/1947,69,Leo,Visa,4929463108383001,118,2/2022,"PA 67 64 36 A","1Z 4Y3 40F 93 9248 910 1",0993020962,92739665,Silver,"Occupational therapist","WWW Realty","2012 Ford Transit Connect",PoliticalRewards.co.uk,B+,149.2,67.8,"6' 0""",182,3dbb48f0-5b8b-448d-816e-ed1a500b2001,52.519219,1.428188

192,male,Eritrean,Mr.,Ermias,B,Abdullah,"Brogade 61","Esbjerg N",SY,"Region Syddanmark",6715,DK,Denmark,ErmiasAbdullah@armyspy.com,Nuants,ukee8lioFoh,"Mozilla/5.0 (Macintosh; Intel Mac OS X 10_12_3) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36",24-82-10-41,45,Girma,4/19/1960,56,Aries,MasterCard,5302076434420026,117,8/2022,190460-4573,"1Z 27Y 811 68 6648 512 0",5505706379,34826102,Blue,"Clinical chemistry technologist","I. Magnin","1994 Toyota Corolla",JulyArchive.dk,O-,210.5,95.7,"5' 7""",171,2484d8df-167a-4673-9b56-e658c0327295,55.428427,8.594991

193,male,Vietnamese,Mr.,Chúng,T,Đinh,"ul. Konopnickiej Marii 133",Jaworzno,,,43-600,PL,Poland,inhThanhChung@armyspy.com,Vold1984,oaz4jeiXie,"Mozilla/5.0 (Windows NT 10.0; WOW64; rv:51.0) Gecko/20100101 Firefox/51.0","51 871 11 20",48,Mai,1/2/1984,33,Capricorn,Visa,4485677153881868,926,8/2020,84010252392,"1Z 275 996 68 0747 100 5",8956349617,08089415,Blue,"Water resources engineer","David Weis","2005 Pontiac Aztek",FinderVille.pl,AB+,136.8,62.2,"5' 7""",171,162f52d0-68e6-4cbb-b802-a9b219081c92,50.108052,19.356276

194,male,German,Mr.,Matthias,S,Koenig,"Rua 34 1753",Anápolis,GO,Goiás,75114-520,BR,Brazil,MatthiasKoenig@fleckens.hu,Gureque42,ZieLie8r,"Mozilla/5.0 (Windows NT 10.0; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36","(62) 4937-5863",55,Pfaff,1/26/1942,75,Aquarius,Visa,4716698180023010,480,6/2021,105.386.338-16,"1Z 3Y6 305 37 9940 499 7",0253471396,83404306,Blue,"Molding, coremaking, and casting machine setter","Mars Music","1997 Chrysler Neon",MovieReseller.com.br,A-,194.7,88.5,"5' 7""",171,30bc520e-e4a9-4856-9f36-eee00a78e3f4,-16.281774,-49.078816

195,male,Hungarian,Mr.,Soma,M,Kádár,"Akonmäentie 28",RAUTAVAARA,NS,"Northern Savonia",73900,FI,Finland,KadarSoma@dayrep.com,Denly1959,isiK6Ahy,"Mozilla/5.0 (X11; Ubuntu; Linux x86_64; rv:51.0) Gecko/20100101 Firefox/51.0","042 041 2528",358,Vargha,8/26/1959,57,Virgo,Visa,4716590304486969,753,1/2018,260859-037M,"1Z 175 183 31 1763 590 5",9583207573,88410726,Blue,"Teller supervisor","Super Place","2000 Vauxhall Astra",InventorTest.fi,O+,170.1,77.3,"5' 9""",174,e9cdd0c8-ece1-493e-9be7-bd5c4e73c250,63.413436,28.359007

196,female,Hungarian,Ms.,Jázmin,K,Cseh,"Männimetsa tee 55",Tiskre,HA,Harjumaa,76912,EE,Estonia,CsehJazmin@teleworm.us,Folook,Ienui1too,"Mozilla/5.0 (X11; Linux x86_64; rv:45.0) Gecko/20100101 Firefox/45.0","639 4698",372,Fehér,8/16/1967,49,Leo,MasterCard,5525474870996479,533,3/2020,,"1Z 476 147 97 5704 234 5",4013194548,79582305,Purple,"Office manager","Kinney Shoes","1998 BMW 320",SeekCultures.com.ee,O+,209.0,95.0,"5' 8""",172,cdc54a15-4735-49b9-9000-bd8a3237a4d8,59.362129,24.57664

197,male,French,Mr.,Aimé,A,Avare,"3642 Center Street",Newport,OR,Oregon,97365,US,"United States",AimeAvare@dayrep.com,Ontled,eemoh0Quah,"Mozilla/5.0 (Windows NT 6.1; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36",541-961-6498,1,Lajoie,8/22/1931,85,Leo,Visa,4916128093305955,564,1/2021,541-58-1744,"1Z 101 330 03 6588 723 1",6129569625,22032108,Brown,"Social worker","Universal Design Partners","2001 Lamborghini Murcielago",dasweihnachten.com,AB-,176.0,80.0,"5' 11""",180,bafb7fb0-9da3-4f69-8069-763342c3d6bc,44.686309,-124.073951

198,male,Slovenian,Mr.,Daut,L,Ribizel,"Rua Boituva 826",Itapeva,SP,"São Paulo",18406-070,BR,Brazil,DautRibizel@jourrapide.com,Poncelf,ahC5joh3ie,"Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36","(15) 5318-3916",55,Samec,5/11/1932,84,Taurus,MasterCard,5175218919932273,378,2/2018,569.284.463-07,"1Z 6W7 727 61 8361 324 1",0413231742,38803254,Blue,"Short haul or local truck driver",Excella,"2003 Mitsubishi Dion",IndustryGolf.com.br,O+,216.0,98.2,"5' 4""",162,a59cdf17-44bf-4d5b-a3c7-45630e8d9e6f,-23.998474,-48.854621

199,female,Swedish,Mrs.,Tilde,A,Lindholm,"Stationsvej 82",Hvalsø,SJ,"Region Sjælland",4330,DK,Denmark,TildeLindholm@rhyta.com,Whimigh,iF4jar0sh,"Mozilla/5.0 (Macintosh; Intel Mac OS X 10_12_2) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/55.0.2883.95 Safari/537.36",24-63-94-32,45,Sjögren,5/9/1978,38,Taurus,MasterCard,5494284230201404,571,5/2019,090578-3734,"1Z 387 078 92 9301 778 2",2272263723,81568612,Green,"Electrical power line installer","Cherry & Webb","2002 Tata E",RecordingApps.dk,A+,196.0,89.1,"5' 1""",154,162aae63-5cea-4e06-af26-192f38586fd3,55.664061,11.94334

200,male,Greenland,Mr.,Jan,M,Hansen,"Kleiwegstraat 61",Gouda,ZH,Zuid-Holland,"2801 GL",NL,Netherlands,JanHansen@gustr.com,Aporing1976,Thichie1ah,"Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/56.0.2924.87 Safari/537.36",06-14672929,31,Andersen,2/9/1976,41,Aquarius,Visa,4716320467980586,296,12/2022,,"1Z 631 104 10 5162 138 5",4690680662,58799117,Green,"Load dispatcher",Merry-Go-Round,"2002 Lada 110",BulkRetailer.nl,A+,156.9,71.3,"5' 11""",181,f56166fb-e963-4845-9e24-0f419f7603ce,52.166208,4.61002

[in-death-we-fall]

Slipknot

The Tightest Knots Never Fray

Metal Edge 48-11, March 2003

By Roger Lotring

(google drive link) Murderdolls interview here – Stone Sour interview here

“Someone has to bring down the whore, dude,” says Shawn Crahan, determinedly addressing the soulless gluttony that has devoured integrity from contemporary music. “I’ve been all over the place,” he admits, readily likening his foregone ranting as being “almost schizophrenic, man.” But for #6—the Clown percussionist of Slipknot—the corporate impurity that desecrates his sacred rock ‘n’ roll art form pits him as the proverbial David in the face of a Goliath. “People always say Clown’s a fuckin’ retard genius,” he exhilarates. “And I say, ‘You’re right.’ I’ve taken an oath, spilled a lot of blood, and I’m part of an organization that is going to do nothing but bring down the pig.”

The challenge of Disasterpieces is the first of the slings and arrows. A turbulently intense package, the very first Slipknot DVD is largely centered around a February 2002 live performance filmed at the London Arena. A fast-paced style of editing moves conjunctively with 5.1 surround sound to overwhelm both the aural and visual senses, making for an extreme Slipknot experience. An accompanying second disc features a video history of the band, including the banned clip for “Spit It Out,” plus a previously unreleased animated version of “Wait And Bleed.” Enhanced bonus material and an exclusive audio track—”Purity”—make this DVD the gauntlet of a challenge to sedentary bands reigning over hard rock popularity. “I’ve kind of made the DVD like, ‘Look, if you’re not this good, and you don’t know what the fuck’s going on, why don’t you quit and do us all a favor?’” Moreover, Disasterpieces is an architectural draft by which metal fans can judge what to expect from their music. Nothing less will suffice anymore in a landscape of media saturated mediocrity.

“It’s the cattle thing,” Clown defines, a cultural popularity branded by lethargy. “If you’re not at the back of the pack, something in life forced you to be at the front,” he says, intimating music fans as an order of natural selection. “There’s probably a chance for everyone, but it means we’re going to have to go, ‘Hey, you guys at the back of the pack, they’re going to eat you, do you understand?’” It’s what he calls an education. “That’s what Disasterpieces is,” he says by comparison, something by which metal fans can decipher the natural order of musical innovation.

Metal Edge sat down on a Saturday afternoon for an intense conversation with Clown about Disasterpieces, as well as his perspective on the Stone Sour and Murderdolls branches of the Slipknot family tree. “I used to talk about unity and pushing forward,” he concedes, noting that, “I think Slipknot did that to the point that we don’t need to anymore. Now, it’s obvious all of us are looking for our insides. We are trying to evolve Slipknot. All of us need to fuckin’ find some stuff for ourselves,” he explains, assuring diehard Slipknot fans that “they ain’t got nothing to worry about. Let the Maggots know it’s all coming for ‘em. We’re not getting older, we’re getting better.”

METAL EDGE: Is the Disasterpieces DVD meant as a means of focusing attention on Slipknot in the interim before a new album? SHAWN CRAHAN: Most people in the world have to realize that we, the band, have been doing this for seven years. We’ve been doing it professionally, nonstop, for four years. We just got to the point where we understand what home is. So, everybody’s kind of doing their own thing right now—which is totally cool with everybody in the band—because we need time. The third album is coming, right around the corner, and we know it’s going to be different. No one has to be worried about anything drastically changing, ‘cause we’re pretty focused on what we need to be. However, the third one, I think it’s gonna be a really crazy, weird, all-out war. Every member is gonna bring who he is to the table, with all the experience he’s downloaded for the last seven years. This DVD was never intended to let people know that we were alright or whatever. It’ll run its course for two or three months, and we’re starting to write the new album in January—not all of us, but people are gonna fall into place as need be. But, like I said, man, this new album’s gonna be completely insane, as far as I’m concerned.

ME: Would it be fair to say that this DVD almost closes a chapter of Slipknot? SC: I’ve been getting into a lot of trouble lately, because I’ve been telling people that it ends an era. And I don't care what anyone says about it, it ends an era. I’m not interested—the Clown is not interested—in using goats anymore. I’m not interested in half the shit that’s on our stage. Have I talked about this with everyone else? No. But I do a lot of that stuff, and I’m just not interested in the Iowa show no more. I mean, I’m done, I’m bored, and it’s over with. The DVD captured it as best as we could. There were over ten thousand people, over twenty-one cameras, and it was just pure mayhem. You got the most of the show that we could do, that we did for Iowa for over a year.

ME: But isn’t that the point? Why continue doing the Iowa show? It wasn’t meant to be forever, it was meant to be that album. SC: Right, I think people just think that we’re breaking up, or something stupid like that. But no, it’s absolutely the end of an era, get fucking used to it! People change. Fourteen-year-old fans that were there [when] we came out, they’re eighteen now. We’re changing, too, and if no one likes it, fuck off.

ME: You mentioned that this project consisted of a multiple camera shoot, comprising a double DVD. When the idea was first conceived, was it readily apparent that it was going to be so intensive? SC: I knew what was going to happen. I came up with the idea of so many cameras, and the reason was, before, we had only a couple that would film the band. I would just pretty much almost shoot myself, every time we got something in, ‘cause I was so disappointed. Great, you got footage of Sid jumping in the crowd, but what about Joey’s excellent footwork? Where’s all the angles? So, I knew we were going to have a monster. They were talking about one disc, but I knew it would be literally impossible. There’s over four thousand edits in the show itself, and that just takes a lot of information for a computer to recognize.

ME: But with a band like Slipknot, and what it does onstage, you almost have to do it the way Disasterpieces was done, because if you’re at the show, visually, there’s so much going on. SC: That’s how I edited the whole thing with Phil [Richardson]. We edited it like we were in the front row. The reason why I was so excited about being able to do this project was, just like you said, yes, it moves very fast. But how is it moving? Is it moving out-of-control, or is it literally going Clown… Chris… joey… Mick… Sid… Paul… Jim… Mick… Clown… Sid—Ya’ know what I mean? That’s what it’s doing. You’re literally getting to see the chaos as it’s being done. Yeah, it moves very quick, but so does Slipknot. [Laughing] This is for kids to identify with what the fuck exactly goes on at a Slipknot show—Who starts what, who’s playing where, and what they’re doing while they’re doing it. This is all about cues, and the only way to do it right is to do it quickly. Plus, I don’t make anything for the weak, dude. I am here to cleanse the weak away from the idea known as Slipknot. I only want people that understand, because after they take it all in, they’re teachers. And they’ll go out and start molding the future. I’ve kind of made this DVD like, ‘Look, if you’re not this good, why don’t you quit now and do us all a favor?’ That’s how angry I am at the music scene. I understand music has to move, but I’ve never felt so sorry for people listening to music right now, ‘cause it’s fucking crap! Nu Metal? Garbage! It’s garbage, dude! It is! If you know you’re a nu metal band, you’re fucking garbage, end of story. This DVD is about real music, real players—there’s not one musical overdub in the whole thing. What you hear is what happened that night. The only thing that was done, I believe, was in the beginning of “Purity,” because the pyro blew up a couple of the mics. I don’t know any bands that can go through an hour-and-a-half of intensive, dead-on musicianship as we do. I pride myself very, very much to be honored in a band in such good company, ‘cause we’re all incredible musicians, and we make it fly.

ME: So it’s fair to say that this DVD is a challenge to any other band out there right now? If you can’t live up to this… SC: …If you can’t live up to this, why are you even bullshitting? I’ve been on tour with bands that suck. And I’m looking at 'em like, ‘You got a record deal? You’re getting a chance to change the world? Who signed you, some fuckin’ dork? Some idiot over at some big company that knows the formula?’ Man, they’re all losers, dude. Record people get a formula of something that works—Just take Slipknot, for example. Look at all the little fashion statements that have been started, because a band like Slipknot works. Most of the idiots that sign bands because of us are people that said no to Slipknot. I could call four people out from every label. The industry’s a fuckin’ joke, dude! I’m in rock ‘n’ roll, and I’ve never been so embarrassed to be a part of something in my entire life. But it doesn’t matter, dude, ‘cause Slipknot’s there. That’s what we stand for, and that’s what we break down.

ME: Isn’t that a cue, then, with your band being a leader within the rock genre, to throw a monkey wrench into it and make a total left turn? SC: I think so. I never sit here and intend to break the rules. I go, ‘This is the band I’m in.’ The whole time I was editing the DVD, I said, ‘Oh my God, I’m in that band! Yeah, I’m getting to design this, and the whole idea of the DVD is mine, but holy fuck, that’s me in the band! I’m in this band!’

ME: It’s a little surreal, isn’t it? SC: Oh, it’s completely surreal, man! I am so honored to be in the company of eight dudes that fuckin’ throw down. We throw down, man, and I’m proud of it. And I’m not gonna sit back like other people in the band—Everybody would be humble. I don’t care anymore! If your band isn’t this good, then you suck! I’m tired of all the political bullshit, all the bands making fun of us, talking shit. Well, guess what? All your bands suck. None of you could do what we do. I’ve watched all of you, and it doesn’t happen. You come short.

ME: It’s like the early days of KISS, when they would be ridiculed, and then blow other bands off the stage. Nobody would be laughing afterward. SC: We’re actually now managed by KISS’ manager. And we’ve talked a couple stories, ‘cause I play music because of KISS. That was my introduction to music. In the early stages, no one knew what they looked like, and people used to flip out. And I was thinking, goddamn, that sounds a lot like Slipknot!

ME: Watching Disasterpieces, everybody’s faces have been carefully obscured to preserve that mystique. But is the marketing necessity of Murderdolls and Stone Sour detrimental to Slipknot? Joey, Corey and Jim have all been unmasked. SC: I don’t know how to answer that, man. I love Joey, Corey and Jim—As I love everybody in the band. However, things have changed now, and they’re the only ones that have to live with that. And they’re the ones that have to be responsible for that. It is what it is, man, but I don’t think it matters. Joey and Corey and Jim have found another extension of themselves, okay, and I want to clear it up. Corey is a genius. He writes all the time, all day long. I got notebooks that he’s just left laying around, full of conceptual pieces. Some belong to Slipknot, some belong to Corey Taylor. There’s things he won’t even bring to Slipknot, because it’s not the ‘Knot. And no one knows that better than Corey. Think about what he did, man. I mean, he takes the mask off—You know how hard that was? And he did it, and he’s succeeding. And I say, good for him, because that’s what Slipknot stands for. Recently, I said we’re the biggest punk band in the world. I didn’t mean like we’re a punk band, [but] I mean we live the punk feeling. We’re the biggest metal band in the world, and I got three dudes trouncing around the world without masks, succeeding, okay? That’s exactly what Slipknot is.

ME: Meaning that Slipknot is at the point where it can fly in the face of convention and do whatever it likes. SC: I think what we’ve always preached, if we’ve preached anything, is to thyself be true. Don’t ever judge me, just let me do my fucking thing. We’re Slipknot. We stand up and teach kids to stand up! Fight for who you are! Be who you are, don’t worry about it. And now, my own members are like, ‘I gotta do this.’ They go up against all odds and break down all the fuckin’ walls. And they look everybody in the face with their real face, after relying on rubber masks for fucking years? People need to shut up. Fucking ignorance, man! I don’t care what any of ‘em say, we do what we want.

ME: Isn’t that the fundamental basis of being in rock ‘n’ roll to begin with? SC: Yeah! You got Slipknot, now you got the Murderdolls, you got Stone Sour—I will bet my left testicle, there will be other things. Who knows? Every member of the band might have its own entity, and then get together as Slipknot. Oh, some might suck, some might be good. But the point is, what do you do with your life? Most people that have an opinion, aren’t you just cattle being programmed with the imprint? I’m ready for this whole thing to change, man. I’m ready for the pictures in your magazine to change color; I’m ready for people to start talking about things they want, instead of their editors. I’m ready for bands to start telling the truth and lift the veil of rock ‘n’ roll, instead of all this bullshit.

ME: Have you listened to either the Stone Sour or Murderdolls albums yet? SC: Oh, yeah. I listened to the Murderdolls by myself—Joey gave me the copy. When we’re on the road, we’re both very, very busy, and we don’t have a lot of Shawn and Joe time. But Corey, when we were in Europe last time, we both happened to be up very early in the morning, and we were on a long drive. I got to listen to the whole Stone Sour album with Corey. Sitting there with the creator of it, somehow I understood all of it and knew where he was going. I even told him what his next single after “Bother” would be.

ME: Their exploration of musical direction will be invigorating when working on a new Slipknot album. That’s going to be the most positive effect on what the band comes up with, creatively. SC: Yeah. I would have used to have told you that I’d have my people take your head off with that explanation, but I agree with you now. I mean, dude, we’ve been going for four fucking years. Only now can I say thank you to the rest of the guys for allowing ourselves to be home and figure it out. And let me tell you, the three years before being signed—Pure hell. You want to see the evolvement of Slipknot? It took fuckin’ years. I used to wear a Barney outfit. One weekend, I’d be Barney, the next, I’d be a priest. Mick would be Little Bo Peep—Look at Mick, almost seven foot tall, in a Little Bo Peep outfit, slamming with a bonnet on.

ME: But that makes sense, because it wouldn’t have worked if it was something formulated. SC: No! I’ll be honest, man, I hurt some feelings when those guys did that. I hurt some serious feelings. I think people are still angry at me, ya’ know? And that’s cool. I don’t give a fuck. So what? [Laughing] But I take the responsibility of Slipknot hardcore, man. We gave these kids with nothing, something. They were the ones that were so far gone, they were like, I’m outta here, I’m gonna kill myself. Boom—Slipknot comes alone. I’ve had kids wear Slipknot shirts—you know how they are when they wear Slipknot shirts—it’s like a fucking army. They’ll wash it every day, to wear it every day. It lets other kids now (sic) what kind of kid they are. It’s a mentality. That kid is basically telling us where he’s at, by wearing that statement. That’s why I get so nuts, [and] why people are mad at me. Slipknot’s come to a point where—we know we’re a band, dude—but we’ve become icons of responsibility in the world we live in. I try to live my words, man. I try to be really, really responsible.

[in-death-we-fall]

Stone Sour

Hot And Bothered

Metal Edge 48-11, March 2003

By Joshua Sindell Photos by Annamaria Disanto

(google drive link) Murderdolls interview here - Slipknot interview here

Stone Sour’s debut album wasn’t what Slipknot fans were expecting. And that pleases Corey Taylor a great deal. Not nearly as outrageously angry as Iowa, the disc blends Taylor’s passionate singing, rock-solid riffing and indelible tunes, creating a record of downbeat songs that rewards comparisons to the sobering sound of the grunge bands a decade ago. With two other musicians of Slipknot getting involved—guitarist Jim Root’s a fully-fledged member of the band, DJ Sid Wilson adds sonic wallpaper to three songs—and now with a huge radio hit in the song, “Bother,” Stone Sour has begun to take on a greater importance than maybe even Taylor had intended. After all, this was a band that played in the Des moines area for years (‘92-’97) without gaining any attention from record labels. Members passed in and out of their ranks like ants through an anthill, and when Taylor finally gave his band notice, that he was joining their hometown rivals Slipknot, Stone Sour seemed to end with quiet finality.

“By ‘97, I’d been doing it for five years straight,” says Corey. Stripped of his Slipknot coveralls and mask, Taylor is a not unhandsome, stockily-built man, standing about 5’7” tall. His brown hair hangs down to his shoulders, and despite his frequent use of the “F” word, it’s clear that he has a large vocabulary and isn’t afraid to use it. “No one comes to Des Moines to see you play,” Corey continues. “Even Slipknot had to go to Chicago to get fucking noticed. I was sick of working my ass off in Stone Sour and seeing nothing on the back end. I knew that I wanted to make it, and I wanted to try something new. So, the guys in Slipknot came and asked me to join.”

His current bandmates—Root, guitarist Josh Rand, bass player Shawn Economaki and drummer Joel Ekman—have all played in Stone Sour at one time or another. Shawn recalls that Stone Sour were almost the “top dogs” in their small scene. “When we first came out, we had our own little reign in Des moines. Then Slipknot came out and just blew the scene to shit!” he laughs.

Were they furious with Taylor when he deserted them? Joel Ekman shrugs. “When he called me to tell me he was joining Slipknot, I told him good luck and wished him the best. Sure, I was mad. It’s hard to find a good singer, especially in Des Moines. Corey’s voice is just awesome and I wondered how we could replace him. When Slipknot needed a singer, of course he was the one to grab.” Corey sat down with Metal Edge to set the record straight…

METAL EDGE: So, you strike out on your own, after all this success with Slipknot, and then you name your new band after a drink? COREY TAYLOR: It just worked out that way. When me and Joel were trying to find a name, we had all kinds of fucking weird shit that we were thinking about calling this band. You have to remember that we were 19 when we started to put this together. You know, we tried names like Freak Show, but we were clearly not a “freak show.” We were just guys that wanted to play fucking music. So one night, Joel’s at a bar, and he’s reading a drink menu, and he starts writing down all this shit from the drink menu. There was a bunch of shit on there like “Hot Saki,” and “Ocean Green,” you know. Stone Sour was the second to last one, and he brought over the list. He asked me if I liked any of them for names. Stone Sour just stuck in my mind, and I decided that was it, it was perfect. It didn’t mean anything to us other than it was the name. It’s like Slipknot… Slipknot doesn’t mean anything either, it’s just a name for the band.

ME: I wanted to ask you about the spoken-word track on the album, “Omega.” Was that inspired by Henry Rollins’ spoken-word stuff? I know that you recently worked with him on his benefit album for the West Memphis three. CT: It was just something that I wrote. I’ve always wanted to get into stuff like that. Obviously, there wasn’t a platform for me to do that with Slipknot, so when we started working on this, I said, “You know what? I’m not holding myself down to anything. I want to explore, I want to do everything.” So, I just wrote this spoken-word piece, I was on an airplane, too, and it happened quickly, in only ten minutes. I knew that we were going in to do demos for what we were calling “Superego” at the time, which later became Stone Sour. It was more inspired by some of what Rolins had done, but also the “Beat” writers, like Kerouac and Burroughs and Ginsberg. That kind of thing. There’s a different rhythm to it. It’s not just somebody sitting down and just talking. There’s a flow to it, and that’s why I wanted to do it in the first place. I’ve always wanted to get into stuff like that, just from a writing point of view, because if you’re just singing all the time, you get bored. If you can branch out and do different things, why not?

ME: Have you ever done a kind of stand-up poetry reading in the past? CT: No, not yet. But I want to. I want to do it all, dude! I don’t give a fuck. I want to go out and do spoken-word shit, I don’t hold myself down to anything.

ME: What have Slipknot fans thought about this departure for you? CT: Well, I just want to prove a point. I want to prove to everybody that, “a,” I’m not just a guy who screams all the time; “b,” I can do other stuff besides Slipknot, and “c,” I want to show everybody that if you put your fucking mind to it, you can do anything. You can accomplish anything in live, and that’s the whole fucking point. If you’re stuck in a band, no matter how popular it is and how unhappy you are, why not branch out and do as much fucking music as much as you can? I got into music to do music, not just to be a member of a band. I love Slipknot, and I love what I do, but at the same time, if I feel like I’m not getting to branch out creatively in other avenues, then I’m going to fucking do something else. Luckily, the response has been really good, the kids have really dug it. But at the same time, if nobody dug it I’d still be doing it. That’s just the way I am. That’s why I joined Slipknot in the first place, because in the original Stone Sour, I was kind of burned out on what we were doing in ‘97. We had been doing it for about five years, and it was time for me to do something new. The guys in Slipknot came to me and asked me to do it. Now, happily, I’ve been able to come back and do this again.

ME: Is it stifling to be in Slipknot? CT: Kind of, yeah.

ME: That’s going to be a hard thing for Slipknot fans to hear you say, won’t it? CT: Well, here’s the thing. You can listen to Slipknot and tell that we’re creative. We don’t really hold ourselves to one “form” of metal, but at the same time, it’s still metal, man. It’s still very brutal and there’s not much stuff that you can do with it. I couldn’t do a song like “Bother” in Slipknot. It just wouldn’t fit in and it wouldn’t be right. So it was important to me to be able to do that, because I write stuff like “Bother” all the time, and what am I supposed to do? Forget about ever singing those songs? Fuck that. It’s either i write and play and sing, or I die. That’s just the way it is.

ME: Your fiancee she says that she’s been listening to “Bother” for almost three years. And all of a sudden, it’s strange for her to have the rest of the world hearing it. CT: It used to be that I wrote stuff like that for myself. I write on an acoustic guitar, not on an electric. I wrote it in ‘95, and it was one of those songs that I’ve always, whenever I had a moment to play my guitar, I would always start to play it. It took a lot… I think I was actually kind of scared to do anything like it before. When we were doing the demos for the Superego stuff, I thought, “You know what? I’m just going to record it and if we don’t use it, then at least I’ve got it for myself. I can listen to it whenever I want.” And, luckily, when people started listening to it, they were like “Holy shit!” I flew out to L.A. to record it for the Spider-Man soundtrack, and people have been really digging it.

ME: Is it a relief to reveal the person you are beneath your Slipknot mask? CT: Yes. It really was starting to feel like I was a character that I was having to play. I wanted to get away from it, I wanted to get back and just do something so that I could come back to Slipknot and feel the same love that I had for the band on the first album.

ME: Were you nervous about going without your mask? CT: I was a little worried about it at first, but then I thought about it and decided, “This is who I am in Stone Sour.” I shouldn’t be worried or ashamed of that. I did Stone Sour for five years without a mask on. It was just “me.” And people liked it then, so why wouldn’t they like it now?

ME: What’s the reaction that you’re getting from Slipknot about the music that you and Jim are doing now? Have you talked to them? CT: I haven’t even talked to them in a whole. They’ve been doing their own thing, I’ve been so busy with this. I’ve talked to Joey [Jordison, Slipknot drummer] a couple of times. Joey’s doing the Murderdolls and he’s having a good time with that. I feel that if they can’t be happy with the fact that I’m happy right now, then why are we doing it in the first place, you know? If anybody wanted (sic) in the band wanted to branch out and do whatever they wanted, I’d be like, “Fuck yeah. Go for it!” I would never try to hold anybody back, and I don’t think that they’re trying to do that with me.

ME: Do you anticipate seven other solo projects from Slipknot? CT: [Laughing] Probably not! I mean, [DJ] Sid [Wilson]’s got his DJ stuff, and [percussionist Shawn] Clown [Crahan]’s got his hand in a bunch of cookie jars, obviously! [Guitarist] Mick [Thomson]’s involved in some shit… It’s just them basically doing what they can’t do in Slipknot, and that’s the whole reason that me and Jim are doing this.

ME: What did Clown say? CT: Clown said some shit about me and Joey and Jim, you know, that “they’d better realize that it’s all fun and good to do this side-project shit,” which pissed me off, because Stone Sour is not a side-project. It’s an actual band. But he said that if our fucking side-projects get in the way of Slipknot, that we’re going to have to answer to him. He’s just talking shit. You know the Clown! He loves to start shit.

ME: Can you still relate to some of the older songs on the album that date back a few years, as if you wrote them last week? CT: Yeah, it’s the same me. Half of the stuff on this album was written prior to us getting back together. It’s just a different perspective. You know, with Slipknot it’s very much about purging the bullshit and everything that I had to go through as a kid. With Stone Sour, it’s much more general, much more accessible and much more confident. These are issues that everybody thinks about. Stuff like relationships, religion, politics… All kinds of things. It goes back to the music question. I’m not going to limit myself just because common popular knowledge has me cast in one fucking role. Fuck that. I want to be the guy who’s known for doing it all and not giving a shit.

ME: There’s a lot of emotions that seem to come out of depression on this record. “Bother” definitely comes out of that dark frame of mind. CT: Yeah. A lot of the stuff, like “Monolith” and “Take A Number”... “Monolith” is a case study of about (sic) what our potential is. All of us are fucking animals, and the people who think that they’re above being animals are the ones who are more susceptible to snapping in a fit of stress and taking a gun and shooting people. And a song like “Take A Number,” back in the scene as popular as we were, there was always the hot new thing that was going on, where people were buying all the bullshit that somebody was saying. That song’s kind of about personality cults and finding out too late that someone’s full of shit. It’s about being burned by somebody that you really believed in. “Bother” is just about people who take and take and take, until you feel like you can’t give anymore, but they still take and keep on taking.

ME: I wanted to talk to you about “Blotter,” as well. Is that about taking acid? CT: No, no… It’s about a chemical imbalance, about obsession. It’s about being that guy that chases a chick all over town and sits outside her house for six hours a night, calls her time after time when he knows she’s not home. About being that guy who scares the fuck out of you, the template for all women who worry about strangers in dark corners.

ME: And that was never you? CT: No. I came really close with my jealousy. I used to be a very jealous person. But I realized how fucking ugly I was with my jealousy, and a lot of my truth wasn’t reality. Every man has been burned by at least one woman in their life, and for a long time after that you really base your opinion of women off of that experience, unfortunately. It’s just about really wanting to be with someone after being in a situation like that. Meeting someone who has the potential of being that “chemical,” very perfect, very forever, and having your own psychosis get in the way of having that, and losing it. It’s kind of about that.

ME: In addition to Jim, Sid plays on this album. CT: Yeah. Sid does some spinning on three songs, yeah. Sid does what he wants. He doesn’t give a fuck. He never has. The only thing he really worries about is whether his coveralls are all intact, and if he’s got a burn on his leg! I asked him to come down, and he was like, “Fuck yeah, man.” He came down and did all his songs in one night. I didn’t want to make what he did integral parts of the songs, I just wanted something for “ear candy,” and that’s what he’s perfect at. A lot of DJs want to remix everything, they want to start everything over again at ground zero. But Sid comes in, asks what you want him to do, and I told him what I was thinking about. He goes into his albums, his bag of tricks, and fucking pulled it off. It was awesome.

ME: This album was done inexpensively? CT: Very inexpensively. We recorded in Catamount studios in Cedar Falls, Iowa with a guy who Shawn and Jim had worked with before on one of their other bands. And we just got along, he knew that we wanted to make something and we knew that we wanted to do it the way we wanted to do it, and not fuck around with a lot of production and a lot of producers. We wanted to produce it ourselves, and it just worked out fucking great. We ended up going in and spending less than $10,000 to record the album. And then we had Toby Wright set up to mix it. I’d wanted Toby Wright to mix it since day one, and it worked out. A lot of things were really smiling on us, you know?

ME: Did Toby Wright’s name come up from your admiration for his work with Alice In Chains? CT: Yeah. Chains, plus I’d also worked with Toby when I did a song with Max Cavalera for the second Soulfly album. We had hit it off really fucking well. He knows what he likes and he loves great vocal performances, and I really wanted to play with that.

ME: How much time have you set aside for Stone Sour? CT: This is something that, depending on how big it gets, I’m going to tour with this up until we get together to do Slipknot. Maybe even past that, because the rest of the guys can work on the music, and me and Jim can come out and we can still be doing this while they’re working.

ME: Things are comfortable? CT: Me and Shawn and Josh have all known each other since we were kids, and I’ve been with Joel since ‘92. Jim we’ve known forever, just because he’s the most popular guitarist in town with all the bands that he was doing. I don’t know what it is, man, we just work really well together. We play off of each other’s ideas, we have carte blanche to do whatever we want musically, and vocally. It’s a good feeling when you’re working towards a goal instead of working for your own means.

ME: So let’s play word association for a second. If Slipknot equals metal, and People equal Shit, Stone Sour equals…? CT: Melody and freedom. It’s everything to me. It’s the first real band I was ever in, it’s the first band I’ve played live with. It’s the first band I ever recorded anything substantial with. It’s the first band I’ve ever felt proud of, where it wasn’t just me and a couple of guys playing what I wrote. It was all of us really working to do something very cool.

ME: This album seemed to come out of nowhere. No one knew you were off the road long enough to make this record. CT: Fuck yeah. This thing was recorded in thirty days, man. I think Stone Sour is different from what’s out there. It’s melodic and catchy, and it’s got soul and life. I think that it’s going to make people re-evaluate how they look at music. I think that this is the needle that gets shoved in the eye of all the corporate bulshit! Everything is cookie-cutter nu-metal crap! Everybody thinks that they have to have the big rap breakdown, and it’s fucking pathetic! What happened to songwriting, what happened to storytelling? Show me something before you ship a million-plus copies! It’s bullshit, man!