Beastie Boys
Roadrunner Records / Island Def Jam Music Group
2004
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When a band makes money by doing non-electric versions of their songs, we get what are called "acoustic
versions." Radio stations play "acoustic versions" for the people, but the effect for punk and metal like Slipknot
is a major watering down. That is why some Slipknot fans were unhappy with the appearance of acoustic
songs on this album, because the band is a quintessential "nu metal" band.
Acoustic music still remains more universal than electric music, but this reviewer cannot help but wonder how many more generations resistance to electricity in music will last. In any case, the electric songs on this album do show great skill in musicianship as one reviewer put it. The comparable sound and image is Marilyn Manson. When we see the album cover and art and hear the first song, we think, "Halloween." There is some playing with satanic imagery. "Pulse of the Maggots" calls forth the diabolic. The song has some vaguely political overtones in reference to militarism. It is even downright cheerful compared with some others: "I fight for the ones who can't fight/and if I lose, at least I tried/ We are the new diabolic." Other songs such as the "Nameless" are the same old schlock of metal obsession with wimmin--just with an emphasis on the gloomy and anti-social side. It's hard to say if the "Pulse of the Maggots" kind of songs outweigh the others in their aimless and vague gloom and nihilism. We'd like to give this album a clear thumbs up for not making use of the standard romance culture material, but a couple songs are also looking at the obsessive side of "love"--without much clear resolution either. In the end, despite vagueness characteristic of some brooding teenagers and older people, it's still a deep album relatively speaking to what we will find on the market under capitalism. For this reason we have to give this album at least a pass or maybe mild approval.
Notes: See MIM Theory on feminism and gender issues.
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