Slipknot’s Jay Weinberg Just Got Married

Congratulations to Slipknot drummer Jay Weinberg and his new wife Chloe on their marriage! The two tied the knot yesterday (Sept. 16) in a private ceremony, sharing the news of their union on social media.

The COVID-19 pandemic didn’t stop Jay, who recently turned 30, from getting hitched to Chloe. The couple got engaged in late 2019 on the cliffs of Machu Picchu, with the 15th-century Inca ruins sitting pristinely below them.

Jay shared a single photo of the newlyweds on Instagram, inviting fans to text “JayChloe” to 615-488-7779 and send a photo to their virtual wedding guestbook:

Slipknot bandmate Sid Wilson posted his well wishes in the comments section. “Couple of the Century! Congrats you guys.” Fellow artists such as Arch Enemy’s Alissa White-Gluz, The Dillinger Escape Plan’s Ben Weinman, Code Orange’s Jami Morgan, Rancid’s Branden Steineckert, Chelsea Wolfe, Anti-Flag’s Chris Barker and others dropped their congratulatory comments as well.

Weinberg also shared what looks like the wedding invitation, which fittingly features a goat on Jay’s side and a small deer on Chloe’s side.

The Most Performed Songs by 50 of Metal’s Biggest Bands

Powered by ProGo Productions

Kids Deliver Brutal Cover of Slipknot’s ‘Psychosocial’ + Hit Kegs

Covering Slipknot isn’t an easy task to tackle, but the kids over at the O’Keefe Music Foundation aren’t your average band. They’ve already taken on the .5 The Gray Chapter track “The Devil In I,” and now they’ve moved on to All Hope Is Gone’s “Psychosocial.”

The video was recorded in a bar almost a full year ago in October 2019, back when being inside establishments was still a normal part of life. Anyway, the group is full of energy, headbanging around in circles. Two girls — aged eight and nine — even hit kegs with baseball bats, similar to how Shawn ‘Clown’ Crahan does onstage.

To bring it even closer to home, 17-year-old vocalist Kaden Karns is from Corey Taylor‘s hometown of Waterloo, Iowa, which he lived in prior to moving to Des Moines and forming Stone Sour. The connection is quite uncanny, especially considering Karns’ vocal delivery is pretty spot-on.

Oh, and there’s moshing too.

Check out the video below. The performers are:

Baseball Bat & Beer Keg Girl #1 / Taylor Campbell / Age 8
Baseball Bat & Beer Keg Girl #2 / Madelyn Ahlers / Age 9
Drums / Nate Tharp / Age 14 
Lead Guitar / Hunter Hallberg / Age 14
Bass / Jackson Toma / Age 15
Rhythm Guitar / Aiden Combs / Age 17
Vocals / Kaden Karns / Age 17 

The O’Keefe Music Foundation – “Psychosocial” (Slipknot Cover)

The Best Cover Songs From 50 of Metal’s Biggest Bands

Powered by ProGo Productions

Complete Winners List: 2020 Heavy Music Awards

The fourth annual Heavy Music Awards, presented by Amazon Music U.K., held its first-ever virtual event yesterday (Sept. 3). A dozen awards were handed out and the ceremony even featured live performances from groups operating in a separate studio.

Although held well into 2020, the awards show largely focused on the best of 2019, with Slipknot winning “Best Album” for We Are Not Your Kind and Rammstein winning “Best Live Band,” to name just a couple of the victors.

See all of the winners further down the page.

Special live sets also came from The Hunna, Holding Absence, Heart of a Coward, Wargasm, Coldbones and Hawxx and an interactive pre-show was hosted by Kerrang! Radio’s Sophie K. and Jon Mahon.

2020 Heavy Music Awards — Winners List

BEST ALBUM: Slipknot, We Are Not Your Kind

BEST VIDEO: Don Broco, “Action”

BEST FESTIVAL: Download Festival



BEST U.K. BAND: Bring Me The Horizon


BEST PRODUCER: Catherine Marks

BEST ALBUM ARTWORK: Baroness, Gold and Grey



THE H: (Awarded for exceptional positive contribution to the heavy music scene) — Dom Fraser & Space

The Best Metal Song of Each Year Since 1970

Powered by ProGo Productions

10 Facts You May Not Have Known About Slipknot’s ‘Iowa’

Everyone knows that Slipknot’s second effort Iowa was the furthest thing from a “sophomore slump.” After breaking into the scene with their debut album in 1999, a tsunami of pressure was coming for the band as they got back into the studio to work on their next release. They were now superstars, and it happened quickly and unexpectedly.

It doesn’t take a rocket scientist or a music theorist to point out that Iowa is the Knot’s darkest, angriest and heaviest work of art to date. It’s typically the top pick among the Maggots, who have been feeding off the sinister mood of the songs for the last 18 years.

The Nine were in absolute terrible shape, both mentally and physically. They had more money in their bank accounts, which fueled their drug and alcohol addictions. The quickly growing level of recognition that followed the release of their debut forced them into pits of depression and anxiety, which further provoked their substance dependence.

Though Vol. 3: The Subliminal Verses would go on to reach No. 2 on the Billboard 200 and All Hope Is Gone, .5 The Gray Chapter and We Are Not Your Kind would peak at the very top of the chart, there will only ever be one masterpiece as disastrously incredible as Iowa. In honor of the album’s 19th anniversary, here are 10 facts you may not have known (unless you are a die-hard Maggot).

1. Fuckin’ lyrics.

The word “fuck” appears approximately 38 times throughout all of the songs on the album.  Hey, we told you it was angry.

2. All hail the goat.

The 2001 album cover depicts an animated goat head, but the 2011 anniversary edition features an actual photo of the side of the goat’s head resting on nails against a wooden wall. The artwork is credited to Shawn “Clown” Crahan — we don’t know where he got a dead goat from, and we’re not sure we want to.

The album was offered for free by several record stores in the U.K. in 2001 to customers who brought a live goat with them. Probably best to shield their eyes from the album cover.

3. It ruled the charts.

As heavy as it is, the Knot’s second work debuted in the Top 10 of the charts in nine countries and peaked at No. 3 in the U.S. It’s since been certified platinum in the U.S., U.K. and Canada.

4. Tragedy nearly made it flop.

Iowa came out Aug. 28, 2001. While it did sell initially, tragedy struck the U.S. when the events of 9/11 happened just a few weeks later. The country went into shock, and understandably, many people weren’t focused on music.

“What people don’t realize is that as popular as Iowa was, that album didn’t sell. That album didn’t sell at all after 9/11,” Corey Taylor told The Ringer. “We all kind of felt, if you were a heavy band, you felt the heat of what happened with 9/11. So not only were you unable to mourn with your country for what had happened, but now it’s like, ‘Jesus Christ, what do we do?'”

Eventually, the momentum picked back up and people even began finding solace in the catharsis the album brought them.

5. There were 666 lucky Maggots prior to its release.

A few months before the album came out, Slipknot offered a one-track CD featuring “The Heretic Anthem” for free to the first 666 people who went to Roadrunner’s website when the contest was announced.

6. Producer Ross Robinson was broken before production.

Like, literally. Right before production was about to start, Ross Robinson endured an accident on his dirt bike and broke his back. But it didn’t stop him, he channeled his physical pain into the making of the album as the band used their emotional pain. They don’t call him the “Godfather of nu-metal” for nothing.

7. Corey Taylor physically hurt himself in the studio, on purpose.

There are dedicated frontmen, and then there is Corey Taylor. The singer wanted to inflict pain on himself in order to deliver the most brutal, intense vocal performance that he possibly could. During the recording of the self-titled track, he undressed in the vocal booth, cut himself with a broken candle and made himself vomit.

Don’t ever say he didn’t give it his all.

8. Sid Wilson’s emotional breakdown on (515). 

Sid Wilson’s grandfather passed away while the band were in the studio, and he wasn’t able to attend the services. He went in to record the opening track (515), and had an emotional breakdown. Clown told Revolver, “I come in the next day, Ross is weeping. Puts his arms around me. ‘I’ve been waiting for you, Clown. You’re one of the few people that’s gonna understand this. This is my favorite part of the record. It’s the realest part of the record.'”

9. The history of “Gently.”

Clown actually wrote the song prior to Slipknot, and it first appeared on their debut release Mate. Feed. Kill. Repeat. Taylor altered the lyrics slightly when the band re-recorded it for Iowa by taking a few phrases out.

10. It got Stone Sour back together.

The members of Slipknot still reflect on the making of Iowa to this day, citing how much they couldn’t stand each other during that time. Everyone was experiencing so many different personal atrocities that they were at each others’ throats. So, Corey Taylor decided to get back with Stone Sour, who had called it quits in 1997, and Jim Root joined him.

“There was a lot of screaming and a lot of animosity, and that’s one of the big reasons we went and [restarted] Stone Sour. We had to get the f*ck away. And I realized I had been giving up too much power, too much control. So when we did Stone Sour, I did a lot of the production and arranging, which was good for my head, but it didn’t fix the problem,” Taylor told Revolver.

100 Best Hard Rock + Metal Albums of the 21st Century

Powered by ProGo Productions

12 Years Ago: Slipknot Release ‘All Hope Is Gone’

The period of time that elapsed between the recording of Vol 3: The Subliminal Verses and the end of the tour cycle for that album was difficult for Slipknot. The band’s late bassist and songwriter Paul Gray was battling heroin addiction, vocalist Corey Taylor was struggling through a dysfunctional marriage and drinking way too much, drummer Joey Jordison was partying too heavily and everyone else in the band was dealing with his own personal demons and dying to get off the road. However, by the time Slipknot began putting the pieces in place for their fourth studio album All Hope Is Gone, which came out Aug. 26, 2008, they entered a new creative headspace that was both therapeutic and productive.

“I went through a year and a half of f—ing hell, and then after separating from my wife and starting a new relationship I came out on the other side and I felt good,” vocalist Corey Taylor told me in 2008. “I was bigger, I was stronger and it set me on this path. I actually started writing the lyrics for All Hope Is Gone in the middle of the Stone Sour tour cycle for Come What(ever) May. “I just sat down and started filling notebooks. I started to feel hungry again and I wanted to make another Slipknot album. I hadn’t felt that way in years.”

Slipknot, “Dead Memories”

Slipknot started writing All Hope Is Gone in October 2007. Jordison and Gray crafted most of the preliminary song structures while Taylor came up with ideas for the lyrics and Jim Root and Mick Thomson concocted a bunch of riffs for possible inclusion. By the time they started working on the album Taylor was happy and Gray was clean, but for while at least, Jordison was still a mess.

“After I demoed the record with Paul I found myself in this gaping hole,” Jordison said. “I had ended this terrible relationship with a girl that almost made me want to kill myself; all I could do was f— myself up. I’d shut the lights off, I didn’t answer the phone and I just put powder up my nose and got drunk for three weeks straight. I didn’t eat and I was almost f–kin’ dead. I didn’t know if I was gonna live or die or ever make another record. Then my dad broke down my f—-in’ door, and I’m scared s–tless of my dad, period. He’s the hardest mother—-er, ever. I got clean and I was way happier afterwards than when I was on that f—ing bulls—. It starts out fun and then it becomes a habit and next thing you know it becomes nothing but f—ing misery. And once I got clean I was playing better than ever.”

Slipknot wrote much of All Hope Is Gone piecemeal or in small teams. When the band started recoding in February, 2008 there was friction and divisiveness between the nine members. Jonesing for a distraction from his personal issues, Jordison banged out the drum parts to the songs with producer Dave Fortman before the other members of Slipknot could motivate themselves to enter Sound Farm Studios in Jamaica, Iowa.

“I wrote the basic skeletons of the songs myself, then we practiced for a week and a half and people were still trying to figure out the songs,” the drummer recalled. “The basic guitar parts were done, but the guitar players didn’t necessarily know exactly where they wanted to go. So I said, ‘F— it. I’m gonna track the drums by myself. Roll tape now.’ And that caused a lot of problems. But I just figured, ‘Well, I know the songs, so lemme just do it,’ and I tracked all my parts in three days.”

Once Jordison finished he took off, leaving his bandmates to work with Fortman on cleanly blending their parts with the beats. Root, who didn’t like playing between Jordison’s beats, says he was the most active participant during the four months Slipknot were in the studio.

“There were times I’d go a week without seeing anyone from the band. I was like, ‘Are they ever going to come in and do anything?’” he said. “I ran out of stuff to add to the record because when nobody else was around, Fortman would come grab me and I’d add more guitars or more bass or put my effect pedals together and add more weird noises. I think since we recorded the album in Iowa, some guys in the band became complacent and hung out at their houses and didn’t come in.”

Slipknot, “Sulfur”

In contrast with his co-guitairst, Mick Thomson found the recording process for All Hope Is Gone far more enjoyable than the grim negativity that pervaded the sessions of Vol. 3: The Subliminal Verses. “The studio sessions weren’t perfect, but they were leaps and bounds beyond anything we’d ever done before in terms of positivity and just being effective,” he said. “ I was loving what we were doing again, and that love had been stripped away from me by the end of the first record cycle. And on Iowa it was gone. By The Subliminal Verses it was coming back, but when we did All Hope is Gone I felt great. I f—in’ loved everybody. It wasn’t one of those little walking on thin ice, waiting for someone to f— up situations. Hopefully, we’re over the hump and where we need to be as human beings.”

On the surface, the title of the album seems bleak and pessimistic — in other words, business as usual for Slipknot. However, Taylor said he didn’t think the record was a downer and didn’t intend for its name to imply it was anything less than a creative breakthrough.

“To me, All Hope Is Gone is a very positive thing to say because hope means expectations, and when you give up expectation, you just embrace what’s going to happen,” he explained. “There’s nothing better. You’re never going to be let down. I think hope is the death of dreams, honestly, because what if your dreams come true in a completely different f—in’ way and they don’t live up to your hopes? Then, all of a sudden, your heart’s broken for no f—in’ g–damn reason.”

Slipknot, “Psychosocial”

In addition to recording the basic tracks that made up the bulk of All Hope Is Gone, including the blaring title track, the rousing “Psychosocial” and the plaintive “Dead Memories,” Taylor, Root, and percussionist Shawn Crahan worked in a second room, Studio B, on a batch of songs that were more experimental and offbeat than the main album cuts. “Til We Die” was included on the special edition of the release, but most of the material has not been released. Still, having a new avenue for expression was invigorating for Root.

“On the days Mick and Paul weren’t there, Clown and I would go across the street to this other house and write all this other music,” he said. “It’s kind of in the vein of Blur’s 13. Clown and I did some experiments like recording frogs and writing a song around the way the frogs sounded. And we put Corey down in a well and had him sing in this big, giant cistern that sounded like a cavern. I was able to approach guitar not with straightforward power chords or modal riffs, but as a different instrument entirely, and I really liked that. That was some of my favorite music I’ve ever written.”

Fortman was perfectly willing to work with Slipknot on the Studio B recordings, he said. But the members who weren’t involved resisted including the songs on the album, and even some of the musicians who worked on the songs were possessive of the material.

“I was under the impression they were gonna put down some writing ideas and we were going to approach these songs in Studio A eventually,” Fortman said. “I came in two hours later and things were miked up totally professionally. Right off the bat, I felt a little bit alienated by that. But for half the process I would go listen to stuff in Studio B and I thought, ‘Yeah, we’ll use some of this stuff, for sure.’ I thought a lot of it was really great. Then it became a matter of certain band members not wanting to share the creativity, not wanting to have other people mess with the art. I understand that as well, but once that begins that’s out of the range I really want to be involved with.”

Slipknot, “Snuff”

All Hope Is Gone was the band’s first album to debut at number one on the Billboard album charts; as with all things Slipknot, it didn’t happen without a struggle. At first, the trade magazine reported that The Game’s LAX beat Slipknot by 13 albums sold. In the spirit of democracy, Slipknot’s management and label demanded a recount. When the final units were tallied the Knot came out victorious, besting The Game by 1,134 records, with total sales of 239,516 copies. It was the closest photo finish since SoundScan started ranking album sales in 1991. All Hope Is Gone was certified Platinum on Aug. 12, 2010.

“I think it’s the by far our best album,” Taylor said. “It’s really heavy and very dark, but also ultimately uplifting in a way. It’s experimental, it’s brutal, it’s melodic. It’s Slipknot.”

Loudwire contributor Jon Wiederhorn is the author of Raising Hell: Backstage Tales From the Lives of Metal Legends, co-author of Louder Than Hell: The Definitive Oral History of Metal, as well as the co-author of Scott Ian’s autobiography, I’m the Man: The Story of That Guy From Anthrax, and Al Jourgensen’s autobiography, Ministry: The Lost Gospels According to Al Jourgensen and the Agnostic Front book My Riot! Grit, Guts and Glory.

See Slipknot in the 50 Most Important Metal Bands in the 21st Century

Powered by ProGo Productions