Stone Sour’s monumental sixth album, Hydrograd is with us now, four long years since their concept albums, but is it worth the wait?
Stone Sour is quite often seen, incorrectly, as the side project of Slipknot for the band, who actually formed in 1992, years before Slipknot appeared. Over the last 25 years, Stone Sour have spanned bridges from thrash and heavy metal to traditional rock and even a labelling of prog rock. But how does the latest album hold up?
YSIF is the opening track of the album, and entering with a scream of “Hello you b*stards!” It’s a statement. Powerful chords are shot through with subtle sitars and a drumline bordering on tribal influence. It gaplessly flows straight into Taipei Person/Allah Tea. The same overdriven guitar leads us over a galloping drum beat with Taylor’s legendary screamed, gravelly vocals shouting out his lyrics, which are still nothing less than poetic despite the aggression in the tone. The guitar fills and solos are FX-loaded over the more simple drum and backing guitar rhythms which adds more texture to the track. Tucked away right at the end of what is effectively a double track there’s a hidden gem. The song tapers off to hear drumsticks clattering on the floor and the band laughing at one another, it’s a nice reminder that the band are still human, despite rock God status, and the level of quality they can achieve from a live recording!
Hydrograd is the sixth studio album by American rock band Stone Sour.
As the title track, Hydrograd leads us in with complex drums underlining an almost ominous, very dramatic, guitar lead. The song is beautifully produced, the separation between instruments creates an amazing soundstage and Taylor seems to pace across it, with vocals being heard moving across left and right channels. This only reinforces how ‘tight’ the band are across the spectrum; from thundering live shows to impeccable studio production. Taylor’s lyrics seem to tell the story of a broken/breaking relationship, it remains poignant amongst the driving guitars and screamed vocals. Following in much of the same minor key vein, The Witness Trees comes later in the album. The guitar shimmers across the track weaving a higher pitch throughout the vocals with slightly more morbid lyrics than prior tracks tailing off with a typically wailing metal solo over reverbed guitars.
Rose Red Violent Blue (This Song Is Dumb And So Am I) is one of the stand out tracks of the album, and I have to say, I’m on the fence. Not that Stone Sour are strictly shouting, aggressive heavy metal, but they would rarely skirt the edges of pop. The song’s almost oversimplified nature does no justice to the band’s skill and the main thing holding the track together is the consistency of the vocals. For once, the driving guitar solo feels misplaced near the end and the track feels a little disjointed. This isn’t to say it’s a poor effort at all; it just could easily be mistaken for Foo Fighters, rather than keep in theme with the rest of the album.
And so we come to Whiplash Pants; other than taking the prize of best track title of the album, the track is whiplash by name and nature. It’s a relentless tour de force of Taylor’s more Slipknot set of vocals throughout the verses and juxtaposed with his softer vocals belted across the choruses. It’s traditional heavy metal at its best, wailing solos, complex drum solos, vocal variety and masterful backing guitar, it’s an easy contender for best track of the album. Standout lyrics include ‘How do you see the world with your head up your a**?’ For more like this, skip through to Somebody Stole My Eyes, another thundering power metal track as the penultimate track.
Despite retaining the faster pace of previous songs, those familiar with Stone Sour’s work will comfortably be able to recognise tones of the gorgeous ‘Through Glass’ in Song #3. The lyrics belie the fact that Taylor is far from a one-trick pony as a songsmith, capable of conveying anything from love, anger and political feelings through the band’s music. Another, far softer entry comes in the form of St. Marie, nestled at the two-third mark of the album. With no real detectable trace of gravel and growl in the vocals, we’re given the less harsh edge of Taylor’s register with a lapsteel guitar slid and plucked like a harp as melody and female backing vocals to keep taking that edge off. It’s a reprieve from the metal, and welcome show of versatility from one of the greatest vocalists in rock. The final track of the album, When The Fever Broke is another show of poetry from the band. At over six minutes, it’s long for a final track but doesn’t detract from the attention it demands. It’s a gorgeous ballad of a song that tails the album off perfectly.
The album is worthy of a serious set of praise; and a great set of headphones or speakers. Come to your local Richer Sounds and let the album blow you away.
Author: Steve, Southgate store
