Slipknot’s Top 10

Slipknot’s first major single after Jordison’s departure and Paul Gray’s passing, “The Devil in I” pairs dirge-like verses with an anthemic chorus, reflecting grief and rebirth. New drummer Jay Weinberg mirrors Jordison’s technical flair while injecting fresh swing, and Alessandro Venturella’s bass throbs with ominous presence. Taylor’s introspective lyrics wrestle with inner demons—“Step inside, see the Devil in I”—acknowledging personal flaws while refusing defeat. The song’s balance of melody and menace introduced a renewed Slipknot to a new generation, proving the band could evolve without losing their soul.

Here Slipknot harness complex rhythms without sacrificing accessibility. Jordison offsets a 4/4 stomp with ghost-note hi-hat flourishes, while the guitars drop into syncopated chugs that stop on a dime. A clean, melodic chorus showcases Taylor’s dynamic range, bridging radio-friendly hooks with uncompromising heaviness. The lyrics celebrate self-identity forged in adversity—“I am a world before I am a man.” Winning the 2006 Grammy for Best Metal Performance, the track proved Slipknot could conquer mainstream accolades on their own abrasive terms, expanding their global reach without diluting their core intensity.

From the debut album, “Surfacing” is equal parts nu-metal groove and death-metal vitriol. Thomson’s pick-scrapes segue into a seismic riff, while DJ scratches and keg smashes add industrial edge. The breakdown’s dissonant harmonics feel like sheets of rusty metal tearing apart. Taylor’s profanity-laced lyrics disown societal expectations—“Fuck you all!”—turning self-loathing outward with primal fury. As an early concert closer, it cemented Slipknot’s reputation for controlled chaos, with masks flying and sweat-drenched mosh pits proving the band could channel raw emotion into communal release.

“666!” Taylor snarls over a churning chromatic riff, as if summoning a metal exorcism. The song’s staccato verses ride Jordison’s machine-gun double-kick patterns, while Root and Thomson sync up on chromatic slides that emulate sirens. Lyrically, it flips critics’ disdain into a badge of honor—“If you’re 555, then I’m 666.” The bridge’s call-and-response gang shouts turn arenas into riotous choirs, reinforcing Slipknot’s us-against-the-world ethos. “Heretic” crystallizes the band’s refusal to conform, making it a rallying cry for metal outsiders everywhere.

A torrent of blast beats, whammy-dive riffs, and sampler sirens detonates within seconds, declaring Iowa’s mission statement: utter extremity. Jordison’s relentless tempo shifts and Sid Wilson’s vinyl screeches form a chaotic backdrop for Taylor’s nihilistic mantra. Beyond pure aggression, the track channels real-world alienation and anger, turning misanthropy into a unifying chant for fans who feel equally marginalized. The title remains a blunt provocation, yet the song’s tight structure and unforgettable hook ensure it transcends shock value to become a cathartic live staple.

Launching with a syncopated riff and Joey Jordison’s hurricane double-kick work, “Sulfur” captures All Hope Is Gone’s balance of technicality and groove. Mick Thomson and Jim Root weave harmonized slides and chromatic runs that feel both slithery and crushing. The lyrics dissect corrosive hypocrisy—“I’ll never kill myself to save my soul”—while Taylor toggles between venomous screams and soaring cleans. A sleek, orange-lit video underscored the combustible metaphor, cementing “Sulfur” as a fan-favorite deep cut that showcases Slipknot’s maturing songcraft without dulling the blade.

A lone acoustic guitar and Taylor’s fragile croon reveal Slipknot’s seldom-heard vulnerability. Gradually, layers of distorted chords and orchestral swells envelop the track, transforming personal heartbreak into a cinematic crescendo. The restrained drumming and minor-key melodies amplify the emotional gravity without ever resorting to blast-beat theatrics. Lyrically, “Snuff” reads like a tear-stained farewell letter, grappling with betrayal and self-destruction. Its stripped-down sincerity proved Slipknot could devastate without masks or mayhem, resonating deeply with fans who found solace in the band’s softer shadows. The song’s massive streaming numbers attest to its status as the ultimate curveball in an otherwise brutal catalog.