Slipknot Latest News

Slipknot's Clown Gets 'Exposure' on Noisecreep

In his recurring series on Noisecreep, Clown Exposure, Slipknot's Shawn "Clown" Crahan showcases his love of the visual arts through photography.

Writes Noisecreep contributor Jon Weiderhorn, "One man's junk is another man's jewelry. That's the premise for this week's 'Clown Exposure' photo by Slipknot percussionist Shawn 'Clown' Crahan. The image is a drainpipe bolted to the cement and rusted over time. The shot is distorted around the edges by Clown's Polaroid manipulation technique, but the picture is pretty much intact. Only where most see a boring drainpipe, the photographer envisions something entirely different."

Clown tells Noisecreep, "I wanted to make it look like this big metal thing is walking... But you got this big brown spots coming from the seams. That's where water is getting through the gutter. Do you know how many years that would take? That's years and years and years of conditioning. Then, I do a little treatment to it. I pull the Polaroid. I got the sun up there in top left. Boom, I have something special to me."

Read the artist's whole account right here.

Slipknot Drummer Joins Forces With Rob Zombie For Summer Tour

Slipknot drummer Joey Jordison will spend the spring and summer of 2010 pounding the skins for new labelmate Rob Zombie, who is embarking on a very busy touring schedule.

Zombie said, “Joey is an absolutely crushing drummer and I am thrilled to have him as part of the Zombie family. His amazing skills promise to take the live show to a whole new level of insanity.” Jordison also commented, saying, “I am honored, proud and excited to announce that I have joined the ranks as the new touring drummer for Rob Zombie. I’ve been a fan of Zombie’s since the beginning. I’ve toured with them and have always wanted to play for them. When John 5 called me up to ask if I knew any drummers I could recommend, I said, only half-jokingly, ‘Yeah, me!”

Jordison is universally recognized as not only one of the best drummers in hard rock, but as one of the most talented skinsmen in music, period. He will be sitting behind the kit for several appearances and tours throughout the year, namely the “Gruesome Twosome” tour, which features Zombie along with his longtime pal, Alice Cooper, which begins April 26 in Canada and runs through May 5 in Wyoming. Following that historic tour, Jordison will tour alongside Zombie as part of the 2010 Rock Star Energy Drink Mayhem Festival, which Zombie is co-headlining with Korn. That tour kicks off July 10 in Southern California and runs through August 14 in Oklahoma City, Oklahoma.

“This show and set-list is mind blowing, and what better way to kick off than with the ‘Gruesome Twosome’ tour with horror-rock legend Alice Cooper,” Jordison said. “I want to thank all the Slipknot fans for their support and the Rob Zombie fans for welcoming me in. The Demonoid Phenomenon is on its way!”

Jordison will make his debut with Zombie at the 2010 Revolver Golden Gods Awards, held on April 8, at Club Nokia in Los Angeles. Zombie will be closing out the evening’s awards ceremony with what is sure to be a “must see” performance.

Dave Mustaine, Rob Zombie and Corey Taylor Nominated For Golden God Awards!

Roadrunner Records is extremely pleased to congratulate our artists who are nominated for the second annual Revolver Golden Gods Awards this year!

Rob Zombie, whose Hellbilly Deluxe 2 just debuted on the Billboard Top 200 Chart at #8 last week, is nominated in the “Best Live Band" Category. Zombie will also close out the award show with what will undoubtedly be a “must see” performance.

Slipknot and Stone Sour vocalist Corey Taylor is nominated in the “Best Vocalist” category. Stone Sour are currently hard at work in Nashville on their third album for Roadrunner, which is being produced by Nick Raskulinecz, while Slipknot have recently debuted their acclaimed short film for the heart-wrenching song "Snuff."

Megadeth have garnered TWO nominations: The critically acclaimed latest album ENDGAME is nominated in the “Album of the Year” category, while frontman Dave Mustaine, who was the recipient of the inaugural Golden God Award at last year’s ceremony, is also nominated in the “Best Guitarist” category. Mustaine is also confirmed to present the “Most Metal Athlete” Award at the event.

**Winners will be determined by public online voting - so be sure to cast yours now!! Voting is open until March 30, with winners being announced live at the 2010 Golden Gods Awards Show at Club Nokia in Los Angeles on April 8. The show will be broadcast on VH1 Classic on May 22.

Tickets to the event are on-sale now right here.

"Snuff" Director Paul Brown Discusses the Making of the Groundbreaking Short Film

A collaborative effort between Slipknot’s own percussionist/ videographer M. Shawn Crahan and director P.R. Brown, the masked Iowa contingent’s “Snuff” short film has stunned the band’s loyal fans, and garnered some amazing attention to the band’s artistic endeavors worldwide. Offering a pained introspection departing from the hard and heavy staple sound, and a gorgeously shot film with some big name actors, “Snuff” both sonically and visually marks another step forward in Slipknot’s ever-evolving career. While we already spoke with M. Shawn Crahan (“Clown”) about his vision and execution of the film, here we sit down with director Paul Brown to gain his perspective and insight on what went in to the making of this epic short film.

Where did the concept for the video come from?

The concept for the video came from conversations between Clown and Corey. After they had a base concept down Clown and I met up and discussed where we could take it and how to flesh it out. I wrote the treatment based on their ideas and fleshed out the story to have the strongest impact we could get.

Why did you choose to do a short film as opposed to a traditional video?

This song has very deep roots to it. There is such a personal connection to the lyrics and we felt that the only way to truly capture that on film was to reveal it through a story. The viewer needed to connect to a core emotional level to fully appreciate the intensity of the track.

How was the approach different in shooting this as a film?

We looked at this as a short film from the very beginning. That meant that every trick we know about doing music videos and connecting to the sound could not apply in this film. We literally wanted to tell a story and from the shoot through the edit we focused on the story guiding the pace. In music videos shots usually last only a second or two, in this film there are scenes that need to play out for twenty seconds to really feel the loss and sadness.

How was the experience different from say ‘Psychosocial’ or ‘Sulfur’?

‘Psychosocial’ and ‘Sulfur’ were raw, blistering, almost primal visualizations of the sound from the songs. The passion of the band became the story for those videos. For this, we had to go to a completely different place.

On this album cycle we’ve seen Corey’s face twice – how did that transition come to be?

I feel like we are seeing the evolution of the band. There are times that the metaphorical mask is just as important to show as the one we see on a regular basis. The strength of this band is that they understand that the form of a mask has many faces.

Was there any different equipment used to get the cinematic look?

We pushed quite hard to shoot this film on super 35mm anamorphic. It was crucial to the story for the viewer to really feel as if they are watching a film. Visually we needed the film to have a cinematic edge in order to present such a bold concept to the viewers.

How does the collaboration process work between you and Clown?

Clown and I have become very good friend over the course of this last album cycle. From my perspective we feel like brothers in one creative family. He and I see the world through very similar glasses and both of us embrace the pain and hard work that it takes to get our artistic statements out. We have done a few videos together but this one really went to a whole new level of collaboration. I think he and I both could see where this needed to go and I honestly can't think of one thing throughout the entire process that we disagreed on. It has a complete honor for me to be able to make art with someone who I fully respect and cherish as a friend.

How do you think the die-hard Slipknot fan will react to the video?

I think there will be two very different responses to this film. Some will understand the need to push boundaries and explore the unknown while striving to grow. Others I think will have a hard time with it as they love what they love and changing that does not make them happy. Ultimately I feel like the band will only get stronger as a result of this very unique experience and I think that both camps of thought will gain from the benefits of this journey.

Is there anything specific you hope people take away from the video?

I would hope that the viewers of this film will be placed into a stunned moment of reflection and question their own personal path.

Watch the short film in its entirety right here.

M. Shawn Crahan Discusses “Snuff” From Behind The Camera

As Slipknot’s 4^th single from their #1 album All Hope is Gone sonically demonstrates a departure from the Iowa contingent’s staple heaviosity, showcasing a more emotional side with a profound message, it couldn’t be a better moment for M. Shawn Crahan – the percussionist better known as Clown, but the director better known by his given name – to take his filmography to the next level as well. Turning Corey Taylor’s conflicted verse “Snuff” into a heart rendering and head-scratching short film, Crahan describes the work as “a love story… It’s not transvestite stuff or Hollywood hookers, this is just a completely detached love story.” Read on to find out more about Crahan’s cinematic vision, personal attachment to the song, and what went into the making of the film.

How did you come up with the concept for this short film?

I think everybody was feeling the pressure of this video because of the caliber of the song and what the song could do and what it makes people feel -- I think everybody was worried. And I knew that my treatment was going to be a hard sell. If they don’t really see it and taste it and deem it something that can be worthwhile, you’re not going to get a chance to do it. So it was very important that I write something that was not going to justify the word ‘snuff’ in what the literal word [means], because I don’t support that, and I’m not going to make something that would support that. I had to go [deep], and a lot of it just came around this story that Corey has written and these lyrics about, more or less, this person who’s so gone and will not return, that she’s basically dead, but he becomes her and that became more or less the definition of ‘snuff.’ So it was important that I tried to give Corey as much integrity behind what he was doing, because I was in his house, he played it as a demo, and it affected me then, and I’ve been writing it ever since. I wanted to do something that was a love story that could be that moment that all of us get to where we don’t realize that we could get to that place, but then time slows down and we might have a moment of just rage or depression or fits of anxiety, and life changes, and we just never knew we could actually step into those boundaries -- that’s more or less what this is about. It’s not transvestite stuff or Hollywood hookers, this is just a completely detached love story.

Is the heavy subject-matter of the song ultimately why you decided to make it narrative-based and not performance-based?

I’d say I’m in the top one percentage of people that understand how important live performance is, but what I will challenge you with is this – being one of the people always reinventing that, we’ve kept it interesting, and I always want to keep it interesting, and it’s good to have a little break from things. I don’t feel I’m denying anybody the world of live performance, it’s not deliberate, it’s like a breath of fresh air. There will likely be a live performance for the next video. This is a journey, and the ride doesn’t ever just stop, it’s not predictable, but I do like to get away from things that become comfortable, and the idea of us nine playing live together, it is something we do well, it’s something that people like, and we appreciate that people like that, but let’s not get sick of that, because I’m fucking sick of it!

Slipknot have managed to show their faces twice so far in this album cycle. How did that transition come about?

It’s simple. Our art form was the highest of integrity, and you can feel everyone in the beginning, all the magazines, all the guys -- you saw everybody going for it. They tried everything they could to pin us up against anything. Guys went out and wrote books, and it was a bunch of cheese. As an artist, I sit back and listen to all the, “Oh, you should be ashamed of how you do things,” but here I am, 10 years later, all original members, four great pieces of work, and we want to hold everybody accountable for it. So protecting the vision was really just protecting it from all these liars, and what’s important is that people know we’ll never take our masks off while we play live, and that’s where it’s always been.

I waited until a time that was appropriate to start becoming a human and putting a face with the philosophy, but I wanted to do it when it didn’t matter - “I don’t really care what he looks like, just listen”- and that happened on Volume 3: Subliminal Verses. When we did the interviews, we had crazy shit going on, and then we did interviews on the second disk with all of our faces. You just see that no one cares, why would they? We’ve been around so long that there’s nothing to prove us wrong on. So what if you see my face, so do the people at the venue when I’m getting catering, so do 2,000 kids outside watching me going from my bus, so do the people that just snap pictures of my face and put it on the Internet, no secret, we’ve never tried to keep it a secret. We weren’t doing what KISS did or what other people did, we simply were protecting ourselves and our image in the beginning, because it was evident that everyone was trying to destroy what we were creating. And it was easy for us, because we just sat back and laughed at everybody and said, “Let’s do this chess game, but we’re going to win,” and we won a long time ago. So this is all for us now.

What I’ve always said and what I’ll always say is that I will never [perform without a mask], I have no reason to and it’s so easy not to. Whatever is off the stage is free of limits, but live, there’s no questions there. I won’t be in the band if that ever happens. It’s never been discussed, we’ve never even thought about it, it’s not even something that bothers us anymore, we enjoy it. Whatever we do in our free time off of the stage, our church, is up to us. I want to bring kids into the experience of Slipknot, I want to bring everybody in real, real close, and the only way to do that is to open up a window, and that’s what we’ve done.

How do you compare making “Snuff” vs. making the “Psychosocial” and “Sulfur” videos?

I demanded to be a part of every single move that I possibly could, because I wanted “Snuff” to be what “Snuff” became, and it was effortless, and the reason was because I’ve been very honored and lucky that my band trusts me and allows me to get in there, so I’ve got their blessing. But more importantly, the label, they’ve been in the long-run with us, so they don’t worry about what it is we’re doing or portraying, but after getting on the phone with them and walking them through all kinds of things that they think about, once they see the passion, they let me be a part of everything: I got to do casting – I more or less looked at 25 girls, and I was like, “Silky, this chick, she’s the one.” And I got to meet the cinematographer earlier in the week and pick his mind. Then we picked the location, and got another day where we walked in the location and talked about the shots and creating lights on the outside of the windows -- all this Hollywood stuff, and this is stuff you want to utilize, because when you’re using a production company, they bring in all the lights and the shit can either sit in a truck or it can come in and be a part of this experiment known as art, right? This difference [was] because I didn’t have to be in the video, which was an absolute pleasure, and I got to work on everything artistic before it went down. Usually, I get to co-direct and I get to show up the day of and all this stuff has gone down. Even if somebody sent me pictures of the props, unless you’re tasting it, smelling it and touching it, you can’t make right decisions for the vision, so what differs is that I was involved in everything that I could be involved in, and the only step now is to write a treatment and do a video on my own with my own production company and present that, and I’ll be off and running -- that’s my next step.

How did you start working with Paul Brown?

Paul is great, he’s been like a mentor to me and understands that I couldn’t do any of what I’ve done learning-wise without him. He brings a whole other set of ideas that are visible in the videos and that are, in my opinion, genius. With me, it’s all about what kind of artist you are. I was brought up by one great guy in particular, who, when I asked him some of his tricks, he gave them to me and I really respected him because he looked at me and said even though he showed me the tricks, it didn’t mean that I would do the tricks like he would do them, and he was exactly right. He didn’t invent the tricks, he learned from someone; great poets always said that everything in our head has already been said, and it’s so true -- we’re all just writing this familiar dream. Paul’s a great artist, and I really respect him, he’s got no ego, and a lot of people can learn from him about what it means to be ego-less. At the same time, he knows how to stand up for what he’s doing and be a badass about, and that’s what I need to work with: confident people that will trust in my vision and allow me to create art, to let it out. To trust when I say, “I’m not feeling the green walls, they should be brown,” and when they see the outcome, they see the things I do -- I got that trust with him. I work with Paul Brown because he’s a pleasure to work with as an artist, and he wants the vision to get out, that’s his thing.

One of the main things about “Snuff” as a short film is that it has a cinematic look. How did you accomplish that?

The very first thing that I had to fight for that you hit right on the head here is that I wanted to shoot it on film. I’m like, “This is a story. This is going to be my David Lynch, my fucking Twilight Zone, Outer Limits; this is a short film and you need to feel the wrinkles and the breaths and the eyes -- digital will never express it; it will be cold and it won’t work, it needs to be on fire.” And first thing the label said to me was, “You know you don’t need to use film…” and that started the conversation right there. We went into it, and the further we went, I got more details about what I wanted to do, and we chose film. And I’ll tell you what, “Snuff” would not be what it is today if it was not done on film, period. It would not have had that reaction, the feeling, the depth. We were able to use great lenses. We actually used these lenses that were used for the movie Saving Private Ryan, and it was just a different way the contrast and the lightness and things react with these lenses differently. I’m not an expert with the technicality, but I just know that the lighting coming in reacts differently, because of the coating on the inside of the lens -- things bounce in the lens and the camera reacts to it, and you get this real sharp, crazy kind of feeling in there. “Snuff” is a video that right from the get-go, you got this uneasiness, and you don’t know what it is, is it the video or is it the fucking band? And it never quite releases you, and you get done and you’re like, “He didn’t kill her -- there was no blood, no one’s been killed, Slipknot’s as crazy as I thought, and that was like a love story…what the fuck just happened?” That’s the look you’re talking about: film, and catering to what looks good on film -- the right location, what’s going to saturate the right red, the right brown, the right hallways, the intricacies and keeping things consistent. What’s great was we used the hallway and the room for the security guard, Malcolm [McDowell], in the same building that we had the room. We didn’t have to change locations; the themes are all part of that feeling. Keeping all the dots connected to the whole picture and making sure everything felt like the scene before it were mainly film and lenses and old school techniques. The cinematographer that we used for “Snuff,” he just had a different grasp on the color of this art project. I was able to go deep with him on color, like, “Yeah, man, this is a deep, deep purple, moving real slow, like the ocean,” and he was like, “Yeah, yeah,” and we were talking shutter speed and shit, and that’s the kind of team you want. We’re the luckiest little kids in the world when we get to play on a playground like that.

What else works within the film from your perspective?

I feel like communication is always just the key. There are a lot of people that made the video happen -- it was just a great crew. I had a blast, it was awesome, everybody was into it, everybody was having fun. I had worked with Paul for “Psychosocial,” “Dead Memories” and “Sulfur,” so we had the band for all of those, and that’s always a headache. I do the headache every day of my life, but it was nice just to give the band a break, it was nice to be able to put together a piece of art for the band, with the band’s philosophy. It’s something we’ve been waiting to do, and that’s how it worked best for this caliber of song -- to have this sort of dynamic, this sort of film. And yeah, Corey’s in it, and I wanted to express to everybody, this is a really personal thing for Corey, and I did feel personally like this would be some really good closure for something he’s been holding onto. I remember when he played me this song, it was just singing he did on a tape recorder, and I wanted him to get it out, and in our career, every member’s going to have something like that, there’s no favoritism, there’s no reason, there’s just what feels right.

You keep going back to the first time you heard the song as inspiration. Can you describe that moment a little more?

When it came to thinking about [the film] I had to think about all the things “Snuff” had done to me. When I was asked to go over to Corey’s house and he played it for me in his living room, and he was like, “This is a serious song.” He asked me what I thought about it, and I said, “Well, it sounds like Stone Sour,” and he looked at me and said, “OK, I knew that you were going to say that, but I wrote this for Slipknot,” and I said, “Bring it the fuck on, man. That’s awesome.” He asked me what I thought, and I had to go through some serious artistic worrying, because it’s like my ignorance came out. “It sounds like Stone Sour,” that’s all I could come up with, then I got dragged into the words. Then my musical part takes it even deeper for me, because that’s what I came up with for the song, and it’s a pretty heavy part; it got me really intoxicated with the song emotionally and spiritually, and it just started getting heavier and heavier and my mind started going further and further. Some people I was watching the video with were like, “He’s gonna kill that blonde chick!” and I just say, “Jesus, is this what people just think of us?” Come on, there’s way more dynamic going, it’s almost stuff to downplay…it’s just two people that lived together and he can’t have her, so he becomes her for a moment, just for a second, he disappears, and when he’s leaving, he gives Malcolm that little smile, like, “Yeah, I’m out of my fucking mind, take this shit off.” It’s a story, and it gets you. You know how hard that is to do in under four minutes?

What are some of the other reactions you’ve gotten to what you’ve created?

Everyone has really liked it, and I’m like an old wizard, I’m tucked in the hills, and I don’t really make it easy for people to get a hold of me. But everything I’ve heard, people really like it. I had a friend just text out of nowhere saying he finally saw it, then after he watched it five times he wrote back, “Sick, sick sick.” So everybody’s been real positive. The biggest thing was my family, my daughter and my sons, just everybody, really like, “Wow, dad,” my oldest daughter’s got a real grip on my art, and she saw it, and when she saw Malcolm, she turned to me and said, “How did you get him?” and I said, “We’re fucking rock stars.” You never get to say shit like that! She just laughed and I laughed; it’s been all positive.

You mentioned how this is part of the evolution, so as far as converting new Slipknot fans goes, how do you think people are reacting to it in that way?

I think it’s interesting, the fact that new fans will be drawn in, and they’re going to find the nearest future here – they’re not going to seek 10 years ago that much. I think they see “Snuff” and they search Slipknot, and they’re going to see more video and things that are related to All Hope is Gone, and they’ll find some old things, but they won’t really understand that. I just find it interesting that the further we get away from ’98, it’s almost the safer we are to the world, but everyone knows what’s underneath that. If you’ve been with us since ’98, you know what the disease is. It’s irreversible, it’s not curable, we’re diagnosed with Slipknot. You’re fucking terminal. And our goal is always for worldwide infection, worldwide domination -- we want everybody to check us out, and if that means somebody who likes country but can check us out through a film, like, “Well, I don’t care for the music, but man, great idea, cool stuff, that band’s got it going on,” that’s fantastic, and I think we are going to be doing that a lot. I’m always trying to open the door, getting further into the percentage of people that watch and feel and understand the sickness of Slipknot.

What do you ultimately hope that people take away from this?

I just think I’m lucky as hell to wake up every single day at 40 years of age and just be able to make my job be what I love, and what I love to do is art, and this recent thing that we’ve made that’s called “Snuff,” it takes a lot to make something in your head come out to life, and for one of the very first times in my life, I actually captured something in my head and got it out, and that’s an amazing thing to do, whether you’re a dentist or a teacher, when it’s swimming around your head, and you can actually bring it out into what is known as reality, the thought process known as the human condition…I hope they just take away the idea that you can really be happy in life doing what you love, and I’m very blessed to be able to have people trust me to make these visions that people can enjoy, so thank you.

Watch Slipknot on Fuse Tonight, Own 'Snuff' Film

Tonight at 6pm, Fuse will premiere the Slipknot Chronicles -- a 30 minute special on the history of the band and their rise to fame. The episode will feature the videos that transformed and defined the Iowa contingent's caereer along with tidbits and facts about the nine-man band.

Each episode of this new series on the music channel focuses on one of today’s music superstars and traces their rise to the top. Others include Jay-Z, Linkin Park, Papa Roach, Lady Gaga and more. Don't miss the Slipknot Chronicles tonight!

And just in time for their Fuse special, the band is now offering their short film "Snuff" on iTunes. Don't own it yet? Go get it right here!

Review: Corey Taylor Live at Dead Man's Hand

The Slipknot/ Stone Sour frontman has an unmatched vocal prowess, and he put that statement to the test on New Year's Eve, taking on some notable cover songs with his all-new side-project: Junk Beer Kidnap Band.

Tearing up the stage at Scott Ian and Jerry Cantrell's new Las Vegas haunt, Dead Man's Hand, Taylor ran through songs like Guns N' Roses' "It's So Easy," the Gin Blossoms' "Hey Jealousy," Diamond Head's "Am I Evil" and Billy Joel's "I May Be Crazy" alongside some original songs.

With Walls of Jericho drummer Dustin Schoenhofer holding down the backline, other guests during Taylor's set included Meat Loaf, who dueted "Honky Tonk Woman" with the singer, and Every Time I Die's Keith Buckley who sang The Misfits' "Where Eagles Dare" while Scott Ian played guitar.

Read a review of the whole show right here.

Dedicate "Snuff" to Your Friends on Facebook

For the next 24 hours, Slipknot are giving fans the chance to win an autographed poster and a special Snuff T-shirt for dedicating their song "Snuff" on Facebook.

You can find the track here, but be sure to go HERE to let Slipknot know you've done the deed and put yourself in the running for the prize!

M. Shawn Crahan Comments on Slipknot's "Snuff"

Grammy award-winning hard rock iconoclasts Slipknot have once again defied expectation. While no strangers to radio success, Slipknot are climbing the charts again, but this time with an introspective, genre-bending track, “Snuff.”

When the time came to create a visual for the song, once again the band did the unexpected and made a short film. Co-directed by Slipknot’s own M. Shawn Crahan and renowned photographer/director P.R. Brown, the film features frontman Corey Taylor as never seen before, interwoven in an intricate storyline. Taking the viewer on an emotional roller coaster ride, the piece is likely to generate more questions than answers.

“‘Snuff’ as a piece of art is a testament to the evolution of Slipknot,” says Crahan. "It’s taken 10 years of uncompromising vision to finally be able to present portions of the bigger picture. Stay awake, because as always, it’s still continuing.”

“Snuff” will be premiered on Friday, December 18^th at 12:09 PM EST/9:09 AM PST through AOL, who will showcase the film on its following properties: AOL Music Homepage, Spinner, hard rock news channel Noisecreep, Spinner Canada, Spinner UK, AOL Music Artist Page, AOL Radio Guide, and AOL Radio Blog.

“Snuff” will be available on Monday, Dec. 21^st on Slipknot's website and right here on roadrunnerrecords.com.

Slipknot: World Premiere of "Snuff" on AOL Music

You've seen the stills, you've seen the trailer, now see Slipknot's much-anticipated short film in its entirety at AOL Music.

Premiering for all the world to see at 9:09AM PST (12:09PM EST), "Snuff" was directed by M. Shawn Crahan ("Clown") and Paul Brown.

Featuring special guests and a thought-provoking concept to accompany the touching song, you definitely don't want to miss this.

Slipknot Prepare The World For "Snuff"

Preparing for the world premiere of their short film "Snuff" on Friday, December 18th. Slipknot pique anticipation with the trailer (below) and a new still from the film every hour on their site.

Get a taste of what's to come right here:

Slipknot To Make Their 'Rock Band' Debut

Harmonix and MTV Games have announced three Slipknot songs to be available for download in the Rock Band Music Store starting next week.

Available as a three-pack or individually, the original master recordings of “Duality” from the band’s 2004 Platinum-selling album Vol. 3: (The Subliminal Verses) as well as “Psychosocial” and “Sulfur” from Slipknot’s 2008 No.1 album All Hope is Gone will join the ranks of Rock Band’s elite 1000+ song catalog.

For Xbox 360® and Wii™, the masked Iowa metal contingent's tracks will be available on December 8th and for PlayStation3® on December 10th. Prices may vary by country and video game system. Rock Band and Rock Band 2 are rated "T" for Teen (lyrics, suggestive themes) by the ESRB.

For more information, and to see a complete listing of all tracks available for Rock Band click here. For all things Slipknot, including a listen of their latest single "Snuff," stay right here.

Slipknot: Video Interview on Electric Playground

Electric Playground caught up with Chris Fehn (#3) in Vancouver during 'Fright Week' (see: the week of Halloween) to discuss a decade of Slipknot, their loyal fans and the magnitude of their explosive live shows, which Fehn describes as “intense, artistic, heavy, beautiful, bloody.”

Check out the interview, enjoy some live footage, and find out what Fehn cites as his proudest moment in Slipknot after all these years.

Slipknot Live Photos From Cali

The Gauntlet posted some amazing live photos of Slipknot performing at The Palladium in Hollywood, CA.

GO HERE to browse them now.

Corey and Shawn Weight in on Slipknot's 10th

ExploreMusic.com had a great, retrospective interview with Corey and Shawn of Slipknot surrounding the release of Slipknot 10th Anniversary Edition.

GO HERE to listen now.

The Slipknot Interview With Monte Conner Completed

The six part interview with A&R legend Monte Conner on 10 Years of Slipknot is now reached it's completion. Be sure to listen to it in it's entirety:

Part 1 - How Slipknot was discovered.

Part 2 - Hiring Ross Robinson to produce the record, pitching the band to Roadrunner.

Part 3 - Monte recounts the (literal) blood and guts of the creation of Slipknot's debut self-titled album.

Part 4 - Finishing Slipknot's breakthrough first album.

Part 5 - Monte recalls the first time he laid eyes on Slipknot.

Part 6 - Find out what the 10th Anniversary Edition of Slipknot includes, and listen to some final thoughts on Slipknot from Monte Conner.

Slipknot Plays Smokeout Festival

Slipknot made it into the "On The Scene in Los Angeles" photo gallery by SPIN photographer Erik Voake while performing at Cypress Hill's Smokeout Festival.

Take a look at the photos HERE and HERE.

Did You Get Your Slipknot Boxset Yet?

Find out what the 10th Anniversary Edition of Slipknot includes.

GO HERE for the final installment of An Interview with Monte Conner.

What Was Your First Reaction To Slipknot?

Monte recalls the first time he laid eyes on Slipknot, in Part 5 of An Interview with Monte Conner.

GO HERE to listen now.

Part 4 of Monte Conner's Slipknot Interview...

Monte descibes what it was like to finish the creation of Slipknot's breakthrough record in Part 4 of An Interview with Monte Conner.

GO HERE to listen now.