Pretty mixed. There are some things to consider about Slipknot.
For one, Shawn and Corey run the band. Corey likes to sing-sing. Melodically. And he’s good. That’s why he started Stonesour. Shawn’s favorite artist is Ariana Grande. No joke.
Both of these guys have an enormous amount of talent and an even larger pool of pain between them. Both things come out in Slipknot’s work. The issue some listeners have is that Slipknot’s style is all over the place.
From Nu Metal Rap-Rock:
To Acoustic Obsession Ballads:
To Epic Heartbreak Crooning:
To cryptic immortal mantras:
To mournful funeral dirges with bagpipes:
To Corey’s collaboration with Tech N9ne:
There are so many examples of Slipknot breaking the heavy metal mold, and not just a little bit. They’re pioneers of sonic artistry, and some of their songs miss their mark at first.
Hardly anyone appreciated The Subliminal Verses until years after its release, and now its songs enjoy high placement on Maggot playlists that previously only featured bangers from Iowa.
My favorite non-traditional Slipknot song is from All Hope is Gone.
The album is fairly new, so the reaction is still forthcoming. So far, my friends who enjoy Slipknot like it. I like it a good bit, especially with a full understanding of its meaning. I’ve seen a few music reviewers react neutrally to it - stating that it’s “not what [they’re] here for” but that it’s “not bad” and they expect experimental stuff from Slipknot.
You did point out a noteworthy point, however.
They led with this track, knowing it was ill-advised by industry standards. This was their last record with Roadrunner, and they are so happy to be out of there. They hated being stuck with Roadrunner. So, I think placing the most non-Slipknot song on the album right at the front, they were giving their label the finger one last time.
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