Certainly, the album gets off to a throttling start with "Gematria," a cluster of cacophony and for the longest time on All Hope it seems as if Slipknot will never let up on this pressure, as this is an onslaught of densely dark intricate riffs. Of course, such respect is hardly granted to bands that wear monster maggot masks, so Slipknot's retreat to ugliness on their fourth album - a move telegraphed heavily by the cheery title All Hope Is Gone - isn't entirely surprising, nor is it unwelcome as this isn't a regression, it's more or less a consolidation of strengths. 3: The Subliminal Verses, giving the nonet just the slightest hint of broader horizons beyond their relentless aggression - not enough for the band to crossover, but perhaps enough to earn grudging respect from listeners outside of metalheads. They're still wearing disguises but they have shed producer Rick Rubin, the metal legend who produced 2004's Vol. There comes a time in every band's life where they take off the masks and grow up - then again, maybe not, as Slipknot have managed to dig deeper without ever shedding their grotesque veils.
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