Stone Sour "House of Gold & Bones – Part 1" Album Review — 5 out of 5 stars
Thu, 18 Oct 2012 08:31:28
"You want a revolution; I want the fucking truth," screams Stone Sour singer Corey Taylor during "Last of the Real" the climactic conclusion of House of Gold & Bones - Part 1 [October 22, 2012, Roadrunner Records].
Listening to the first half of the band's two-disc concept epic, it's clear Taylor's found that truth in some of the most raw and real music of his career thus far. House of Gold and Bones Pt. 1 illuminates that Stone Sour remain peerless in modern hard rock. There's nobody out there doing what they're doing. No one else has the guts to transmute a conceptual, multimedia vision this grandiose into a record. That's a tradition that's been lost until now.
The album follows a storyline of a man at a psychological, emotional, and spiritual crossroads, and the narrative Taylor's penned is utterly enthralling. Most importantly though, the music is too.
Everything kicks off in the blood-spattered thrash of "Gone Sovereign" and "Absolute Zero". Jim Root and Josh Rand blaze through head-spinning solos that tow the line between extreme intensity and inviting darkness, while Roy Mayorga's drumming conjures John Bonham bombast with double bass mayhem. Featuring bass from legendary Skid Row four-stringer Rachel Bolan, the low end rages and roars like never before. Taylor leads the charge with some of his most infectious singing ever on "A Rumor of Skin". The lead work from Root and Rand nods to Radiohead's ethereal bliss with a palpable sense of anger that the UK legends could never channel. "The Travelers, Pt. 1" stands alongside "Bother" and "Through Glass" as one of Taylor's best acoustic ruminations, while "RU486" stands out as punked-out metallic bitchslap.
Listening on headphones, every nuance, sample, and strange voice implanted beneath the surface comes through, psychologically enveloping the audience and pulling them into this journey. "Taciturn" was meant for stadium sing-a-longs, and "Influence of a Drowsy God" treads psychedelic territory with the requisite metal stomp. After the entrancing "The Travelers, Pt. 2", "Last of the Real" ends the rollercoaster with a blast of cathartic energy. The bass line ominously sets the stage for Taylor's schizophrenic, theatrical delivery to drive the point home.
Ultimately, this is a milestone for Stone Sour and for modern rock music. It's on par with Alice In Chains' Dirt, Metallica's Master of Puppets, Queens of the Stone Age's Songs for the Deaf, Soundgarden's Superunknown, and any other game-changing albums you can think of. That's the fucking truth…
What's your favorite Stone Sour song?
See "Five Reasons We Can't Wait for House of Gold and Bones Parts 1 & 2?" here!