Slipknot is a Grammy-winning metal band from Des Moines, Iowa, who first formed in 1995. They’ve sold over 30 million records. In this episode, guitarist Jim Root breaks down how Slipknot made the song, “Unsainted,” from their 2019 album We Are Not Your Kind.
This is an unofficial transcript meant for reference. Accuracy is not guaranteed.
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guitarist Jim Root breaks down how Slipknot made the song unsalted from their two thousand and nineteen album. We are not your kind. The My name is James Route, and I play guitar and ban called slipped out, the song is an amalgamation of some stuff that I had written at home, some rifts and then some jams that I do with our drummer. You know ideas that we'd come up with. While we were touring that melody line as what bird that tune, I always have melodies rolling through my head, and I don't always I don't really know where they come from,
in order to kind of real it all in. I would go out to LOS Angeles and work with our producer, Greg settlement, who's, very influential and helping me sort all the things in my brain out and make sense of them. Sometimes I end up forgetting them, but you know this is the benefit of having a great settlement in time to work in a studio cuz. You can just sit there and you can get all these melody lines out and eventually they evolve into a song. Like I'm saying,. I've purposely made it a point not to become a schooled guitar player cuz, I feel like I would become too logical with it and they all. I can't do that because that's an augmented this year, that's a fifth of that and that doesn't fit with the scale or whatever you know I feel like he needs to be more organic, Essentially a song will tell you where it wants to go and what it needs you may.
After you know, give it a little push or help it here and there, but this one all the riffs that came in separately all fit together. So well, you can kind of get the gist of what something is going to be like when J actually starts putting real drums to it that starts to bring everything to life. We have Jay Weinberg on drums. Just do like jam sessions where Jay and I would just he'd just play a beat- and I just riff over the top of it or I
with the riff, and he will just do a bunch of different beats underneath the back of it. He was able to really explore the room and just try a little bit of everything. Whether it's for on the floor, beats or blast beats the four Tom beads, but then, when it came time to track that's when we really honed in on what the parts should be that I don't plan the keg Sean Crown. He is the percussionist and mastermind behind our artwork and the vision of Slipknot, essentially and
He knows different places to hit kegs to get different notes out of something that The container for beer, that's an important part of what Slipknot is, is the percussion and depending on how he plays the cag, it can either give it kind of an industrial vibe or it can give it a really ambient sort of dark moody. Vibe the definitely adds a layer to our band, that not a lot of bands have one of the things I've tried to achieve as a songwriter. Not just a guitar player is to be able to write songs that have different elements but to have them flow seamlessly,
for the mental breakdown, we do a thing where everything drops out. It's one guitar doing like a full step, then down the and then the other guitar comes in with a minor third harmony above it the and then I come in with a melody halfway through the let's harmonize the army, and then it goes from this droney minor third harmony to like a major upbeat blast, be the. I just think, that's so gorgeous that the way that sounds together where you'll have something switch gears, one hundred and eighty degrees and all of a sudden, it's like you're, listening to a different song and to have that turned into a really nice smooth transition. That's kind of difficult to do. You know what I mean, and I think that's one of the things that I've gotten closer to achieving in this song and on this record
the section of the songwriting where you get to do what we call like the icing. You know the frosty on the cake or whatever, unless, where you're, just trying to find a cool, sounds just layering and just trying to make it more exciting I there was a lot of sense modules and studio five. There are so many like toys. We got to play with without we're recording like dark side of the moon or Somethin Khazars. All these just crazy electronics. That's an example of the stuff, Craig and said: do Craig is our sampler and he's got a computer with all kinds of samples and he's got a keyboard that he trigger samples with an Citizens need J, we always say, there's a core of the band. You know and that's it you know guitars base drums whatever vocals. But I don't think the I think the core of the band as all of us in the band, because it's all
those things together, combined that make it what it is, and it wouldn't be what it is without any of that stuff. So in my mind at least it wouldn't make sense without it about any one guy in the band. It's about us as a whole, once an arrangement feels like a song and we feel like it's exciting without vocals. That's when we'll turn it over to Cory sounds great already without any vocals and you're able to like kind of Bob, your head or rock in your chair. While you're listening to it, then by the time Korea gets a hold of it, he should be able to turn it into a monster oh kill myself to so it's gotta was I
feel like we're very lucky to have a guy like Corey, because he's such a diverse, vocalist dude. Be so melodic, he can be so heavy I'm a pretty harsh critic of what it is. We do, and I have a hard time looking at what we do objective we sometimes so attached to it that that's the one time where I can kind of shit back into a while. I was asked whether I fell in with a nasty denial when you live at all. Why Don T you found out The intro, the song went through so many different phases and we spent so much time arranging and rearranging and layering You know when we were touring on the last album cycle. Sean was Alice and I wanna do acquire or want to get like pink Floyd the wall like a children's choir. You know, like I have this thing in my head, that I'm hearing and I want to try to get this on the next record and
The melody at the beginning of this tune was something drew Sean to that he's like that melody line, just begging. For that to be where we see a choir. The it didn't end up being a children's choir like what clown it envisioned in his head. But when I heard the final I kind of like wow? The I think.
A lot of people just by nature lean towards what they perceive to be the dark side of things. If you're going through a really bad breakup. What do you do you listen to depressing music, which ironic, because you think you'd want to listen to something to pull you out of that depression, but as Hugh We tend to lean towards the darker, but if you really dissect Corey's lyrics, I think you can find a lot more hope perseverance. Then there is darkness, I was more than you thought I got so on value that I have is about overcoming it's about you. I have taken something away from me and you may have tried to like rip me down or tear me to shreds, but that's more of a reflection on who you are rather than who I am and all end up being stronger because of it.
Everybody has something in their life like anger this like I'm pushing middle age, but I still have the sort of teenage angst that I don't think will ever probably go away and that's how I relate to it. It's like there's always something man, there's always something in life: it's never going to get easier, and it's song. Like this and lyrics like these, that just kind of make you don't feel so isolated and alone, it's the only one Somebody else has to deal with this crap to and now here's unsainted by Slipknot in its entirety,
I do not know what you want. You want your job. That visit
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Transcript generated on 2022-03-27.