Corey Taylor, the man who knows no fear when it comes to making music, comes right back at us, all guns blazing, with his second solo album featuring bandmates Christian Martucci (guitar, backing vocals), Dustin Robert (drums, backing vocals), Zach Throne (guitar, backing vocals) and new boy Eliot Lornago (bass, backing vocals). With the compliment of this tribe of outstanding musicians, it’s no surprise that Corey himself describes this album as ‘the best rock album of this year and next’.
Following up 2020’s CMFT, this sound is indicative of Corey’s entire music career, not just the CMFT incarnation. There are elements of Stone Sour, flavours of Slipknot, a lot of Corey himself and some pure experimentation.
Corey’s mandolin playing fashions opening track ‘The Box’, with its tagline of ‘enjoy the show’; inviting us to experience what’s beyond and introducing a sense of the unexpected. A cacophonous intro to ‘Post Traumatic Blues’ is more familiar sounding; there’s some awesome complex drumming and Corey’s aggressive vocal growl makes its first appearance. Darker things are to come and this angry, impassioned piece with a tasty guitar solo included leaves us in no doubt. ‘Talk Sick’ is a finely constructed rock anthem, ballsy, demonic and in your face, before ‘Breath Of Fresh Smoke’ calms everything down with acoustic guitars, a slower pace and a hint of the semi-autobiographical. This will strike a chord with anyone who knows the angst of growing up in a small town with limited options.
‘Beyond’ is a rock stomper with an epic guitar solo, ideal for the first single release. ‘We Are The Rest’ is a favourite for me, with its inflamed pace and irate chorus designed for being shouted along to by a ferocious crowd of fans; punk edged and with the rabble rousing feel of a call to arms. The album swings round again by following up with expressive ‘Midnight’ featuring cellist Mariko Murnanka adding an eerie atmosphere of sorrowful grace. Heavy basslines bring us in to ‘Starmate’, another ode to Mrs Corey Taylor, stripped back ‘Sorry Me’ has another semi-autobiographical feel, full of regret, sadness, and melancholic contrition, just vocals and acoustic guitar enhancing the air of isolation the song portrays.
‘Punchline’, another kicking hard rock song is then followed by gentler ‘Someday I’ll Change Your Mind’, and then a galloping surge of splenetic nu-metal groove with ‘All I Want Is Hate’, as venomous as the title suggests. The album finishes with ‘Dead Flies’, a riff heavy anthem to round off the package.
I despair to find fault with this album, it has everything, is expertly put together with it’s ‘mix and match’ content, enough familiarity to excitedly acknowledge and enough surprises to delight.
Words by Victoria Llewelyn
