Interview Outtake: Slipknot Drummer Joey Jordison on the Band’s Creative Process

With the release of our new Slipknot special collector’s issue, we’re celebrating Slipknot month on RevolverMag.com, unleashing new interviews, photos, favorite Slipknot song picks from a host of celeb columnists, and much more. So check back right here often. In the issue, we talk to Slipknot drummer Joey Jordison about the passing of bassist Paul Gray and the band’s future. In this exclusive outtake from our interview, Jordison speaks about Slipknot’s songwriting process.

“If you really look at our stuff, every record is different. The first one is what it was, Iowa got darker and heavier and more disturbing, Vol. 3 still is heavy but then we start putting in some  really odd stuff like ‘Prelude 3.0,’ ‘Circle,’ ‘The Virus of Life,’ you know, started to expand our sound. And then with All Hope is Gone, you know, that record…I mean, you listen to a song like ‘All Hope is Gone,’ nothing but double bass and thrash beats and just super heavy riffs, and then you’ve got ‘Snuff,’ you know. And then you’ve got ‘Gematria,’ like one of the best Slipknot songs we’ve ever played. And a funny story about that song is, like, the guitar players and Paul would be in rehearsals–we played ‘All Hope is Gone’ a couple of times, and that’s one of my favorite Slipknot songs, and ‘Gematria,’ we’re definitely gonna probably play those once we go out on a proper tour off the next record—but those guys would get in such heated arguments about how the riffs go, because they’re so technical. So I’m like, ‘All right, wait till the next time so you guys can all sit down and figure it out.’

“You know, a song will start with just a stem of drums and guitar. And then we’ll demo it: I’ll record the drums, we’ll get the guitars on, then we’ll put the bass on it, and that will be the template of the song. Corey will write his lyrics, or I might have some lyrics as well, or Shawn might have some lyrics, and, you know, then we get the lyrics on. Then we get that done and then we start, you know, adding the percussion, that goes next. And we get that, us three drummers all work like in a triangle on that, and you get everything where it needs to be. And then Sid comes in with his quirkiness and you never know what that guy’s gonna come up with–he’s an alien. And then Craig–we call him the serial killer, he doesn’t talk–he comes in last with layers of, you know, noise and whatever that we need to make the song even more disturbing. So that’s how it works.”

 

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