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Pop Culture Madness Reviews Stone Sour's "House of Gold and Bones Pt. 1"

(PCM) What I love so much about Stone Sour is the amount of raw emotion put forth within their music. It is their goal to evoke emotion out of the listener be that positive or negative and when listening to this album or any of their previous release for that matter, you are going to feel something. That ability to cause a reaction in the listener is what is missing from so many of today’s cookie cutter albums and I applaud Stone Sour for never being afraid to take a risk.
Stone Sour’s latest release “House of Gold & Bones – Part 1″ is the first chapter in a two-part concept story that follows a man at the precipice in his life both spiritually and psychologically. Lyrically his journey is absolutely fascinating, as we feel for a man that is choosing whether to be haunted by his past or move forward with the rest of his life. “House Of Gold & Bones” overall is a complete multimedia project which includes a Dark Horse Comics series, online interactivity, artistic packaging, and live shows where each creative element will further expand upon the overall story.  “House Of Gold & Bones –Part 2″ is scheduled for release in early 2013 via Roadrunner Records.
Lyrically with this album Corey Taylor is at his best. The album ebbs and flows with emotional ups and down and Taylor has the incredible ability to simultaneously envoke every emotion from anger and aggression to hope and tears all within the same album. It is brilliant. Sonically the album features some incredible guitar work from both Jim Root and Josh Rand along with superior bass skills  from Skid Row’s Rachel Bolan. Tracks such as “Absolute Zero”, “My Name is Allen”, “Taciturn” and “The Travelers Pt. 1″ showcase Stone Sours’ prowess as a band and are without a doubt my top picks from the album.
Even if you are not following the “House Of Gold & Bones” story line, the songs on the album can still entirely stand on their own which is great for those that just wanted to listen to some killer tracks, but for those that wish to dig a bit deeper the album offers up that chance as well.
For the latest information on Stone Sour please visit: http://www.stonesour.com/ and http://houseofgoldandbones.com/

Originally posted at: http://pcm-music.com/2012/11/album-review-stone-sour-house-of-gold-bones-part-1/

Kill the Music Reviews Stone Sour's House of Gold & Bones Pt. 1

House of Gold & Bones Part 1 is the first half of two-part concept album that singer Corey Taylor has engineered for Stone Sour’s latest release. Along with the concept coming in the form of two albums, there will also be visual representations. Taylor has teamed up with Dark Horse Comics to create a miniseries to go along with the albums. The first is said to be due out in April before the second album is released. With so much riding on one concept fans are eager to see how it all pans out and House of Gold & Bones Part 1 definitely does not disappoint.

What Taylor calls a “morality play,” the album tells the story of a man on a search to find himself and who he wants to be and all the obstacles he faces on this journey. The opening track, “Gone Sovereign,” sets the stage for where the man in question is at in his life. With the line “If only the contented will survive, is anybody here left alive?” the man’s condition is made obvious. This track starts off the album strong with thrashing guitars and powerful drumming to get your blood pumping. “Absolute Zero” carries the same ideas into the next track with Taylor’s vocals never faltering in intensity.

“RU486” is probably my favorite song from the album. Taylor’s vocals are the fiercest yet in this song as he commands, “Assume your nemesis, RU486.” RU-486 is actually a steroid used to terminate pregnancy and, I’m assuming, the subject of this particular track. The following track entitled “My Name is Allen” describes the title character’s schizophrenic-like internal conflict. The band has released visuals to go along with this song, including one for the “Allen” character and “The Human” that is mentioned in the song (“Why does it matter when The Human is gone?”). Things slow down a bit with the acoustic “Taciturn,” but that doesn’t last too long. The album ends on a strong note with “The Last of the Real” that paves the way for the second half of the story.

Not many bands would be able to pull off what Corey Taylor and company is attempting with this double concept album, but they does so flawlessly. This album secures a place for Stone Sour as a force to be reckoned with and not just a side project for Slipknot’s Corey Taylor and James Root. The growth of the band is evident with this album and I can’t wait to hear how this journey ends.

 - Emily Bunn

Originally posted at: http://killthemusic.net/post/34715389664/review-stone-sour-house-of-gold-bones-part-1

St. Cloud Times Talks House of Gold and Bones!

Most music fans were introduced to Stone Sour via the band Slipknot. Sharing two members, vocalist Corey Taylor and guitarist Jim Root, expectations were more of a Slip-knot spin-off. Quite the contrary. Stone Sour is very stripped and melodic in regards to Slipknot. Taylor billed "House Of Gold And Bones" as a cross between Pink Floyd and Alice In Chains: a lot to live up to. It's hard to hear the progressive nature of Floyd, but you can feel the grungy attitude of Alice In Chains. Taylor's vocals have always been inspired, the riffs are great and less mainstream than "Audio Secrecy." Stone Sour has put out a great release. I'm looking forward to what Pt. 2 has to offer early in 2013.  Tim

The Front Row Report Gives House of Gold & Bones Pt. 1 a 9/10!

by Reggie Edwards

Stone Sour’s latest release, House of Gold and Bones Pt. 1 had a lot of hype and expectations leading up to its release. Often times it’s hard to live up to all of it but after only a few songs into the album it’s clear Stone Sour have lived up to all of it.

Up to this point, Stone Sour’s releases have all been strong. Their self-titled debut was an incredible debut, 2006’s Come What(ever) May was a step up and its follow-up, 2010’s Audio Secrecy, was even better.

However, the important thing in the music industry, especially the rock and metal industry is momentum. If you can keep it up with each record, you’re gonna be great. It’s what separates the men from the boys and the good from the legendary.

Well, with House of Gold and Bones Pt. 1, Stone Sour have absolutely kept the momentum flowing lyrically and musically.

There’s no denying Corey Taylor’s astounding ability to write lyrics that stick out and make your jaw drop. He writes good songs, that’s all there is to it. You can be the biggest critic of Stone Sour if you want but songs like “Through Glass,” “Zzyzx Rd.,” “Bother,” and “Say You’ll Haunt Me” are all songs that show the versatility a lot of bands are lacking.

In House of Gold and Bones Pt. 1, Stone Sour continue their pattern of stellar albums with a mix of songs that shape up into a very well-done concept album.

From the start of “Gone Sovereign,” I could tell this was going to be a special album, but I had no idea what I was in store for.

The variety of songs on this album is outstanding. You’ve got hard riff-heavy songs like “Gone Sovereign,” strong rock songs like “Absolute Zero,” softer tunes such as “The Traveler Pt. 1,” and “Taciturn,” which will leave you in awe.

This entire record is extraordinary and captures Stone Sour at their best. Even people who may not be fans of Stone Sour will find something to love about this album.

House of Gold and Bones Pt. 1 raises just two questions: Can Stone Sour release anything bad? And also, if part one was this good, just does Corey Taylor and Stone Sour have up their sleeves for House of Gold and Bones Pt. 2?

Rating: 9/10

Originally posted at: http://thefrontrowreport.com/2292/stone-sours-house-of-gold-and-bones-pt-1-doesnt-disappoint/

Loudwire Gives Stone Sour's "House of Gold & Bones Part 1" 4.5 out of 5 stars!

Stone Sour singer Corey Taylor knew early on he wanted to do something special with their latest disc, and with ‘House of Gold & Bones Part 1,’ the band doesn’t disappoint. In fact, this dark tale of a person’s inner battles getting over a traumatic relationship break leaves us yearning for more (thankfully, there will be a ‘Part 2′).
The singer says of the disc, “It’s really a morality play. It’s about a person trying to find himself, or herself. You know, everyone in their lives finds themselves inevitably at a crossroads when it comes to a personal evolution and whatnot, trying to figure out what they want to do with the rest of their lives.” Much like a person trying to move on from a difficult split, ‘House of Gold & Bones Part 1′ plays like the emotions of that experience, spanning from bitter, vitriolic, and selfish to broken, mournful and depressive.
Listeners got their first introduction with the release of the double-single, ‘Gone Sovereign’ and ‘Absolute Zero.’ The two songs lead off the album and descriptively show where the title character is at their life — a splintered shell of themselves feeling that every legend has been shattered in ‘Gone Sovereign’ and that they’re so filled with hate that there’s nothing left to offer in ‘Absolute Zero.’ Both tracks are filled with hard-hitting guitars courtesy of Josh Rand and James Root and at times powerful and thunderous drumming from Roy Mayorga.
Rand recently stated, “‘House of Gold & Bones’ takes everything that’s great about this band and amplifies it. The riffs, the lyrics, the grooves and the songs are like Stone Sour times 10. There’s also heavy stuff that’s like nothing we’ve ever done before. It’s dark as hell and a complete experience from the first track to the last.”
Taylor vocally is hitting on all cylinders with this album. ‘A Rumor of Skin’ shows him delivering a deeper register; ‘RU486′ and ‘Last of the Real’ unleash a full blast of his aggression; and ‘Taciturn’ allows the listener to feel every ounce of emotion he’s pouring into the track.
‘Taciturn‘ received its live debut by Taylor earlier this year, with the singer primarily on acoustic guitar. While it can pass as a solo song live, on the album there’s some extra pieces as the track builds from an intimate and sorrowful song into something more epic and filled-out by the end with Taylor begging, “Give me a sign / Show me a light / Maybe tonight I’ll tell you everything.”
‘The Travelers, Pt. 1′ and ‘Tired’ also flow particularly well together in the middle of the record, with the string-backing coming to the forefront. ‘The Travelers, Pt. 1′ provides ‘A Day in the Life’-type conclusion to the title character’s downward spiral, while in ‘Tired,’ the strings pick up the pace and provide a building feel of the character’s increasing instability.
While we’re not sure how many singles ‘House of Gold & Bones Part 1′ may have, that’s not the point of the record. Stone Sour have provided the story of a character’s personal voyage and their inner dialogue that works as one album-length idea, and in that aspect they have definitely succeeded and left us anxious to see where the story continues in ‘House of Gold & Bones Part 2.’


Originally posted at: http://loudwire.com/stone-sour-house-of-gold-bones-part-1-album-review/

Corey Taylor Talks Stone Sour, Slipknot, Fans, And Music Rebellion on Bloody Disgusting

Tomorrow sees the release of House Of Gold And Bones: Part 1 (stream the album here), the latest album from hard rock/metal band Stone Sour. In anticipation of this release, Bloody-Disgusting is excited to bring you an exclusive interview with singer Corey Taylor. In it, we discuss Corey’s history with music, his views on the music scene today, Slipknot and Stone Sour fans, and much more! Check it all out below!
You can pre-order HOGAB:P1 here. Make sure to read Sammy Key’s editorial on Music And Rebellion.

Bloody-Disgusting: Hey Corey, how you doing?
CT Taylor: I’m good, man, I’m good! Just workin’ on the demos for the next Stone Sour.
BD: Oh, cool! I’m really excited to hear that, how are they turning out?
CT: Oh, dude. (laughs). I’m telling you right now it’s gonna piss a lot of people off.
BD: You know what, then you’re doing your job right!
CT: (laughs) Yes, exactly.
BD: Well Corey, thanks for taking the time to talk to me about what’s going on. I have a contributor who’s writing a piece about how teenagers use music and also touching on rebellion and how rebellion has changed, and I thought this was something you would have a lot of insight about. It seems like something you would have a lot to say about.
CT: I’m ready!
BD: When did you start to feel that music was becoming a significant part of your own life?
CT: Uhh, I guess it really started to come together at probably about ten or eleven. Really early on. I started to find that music was something that really brought a lot of joy into my life, and it was sort of cool because I discovered that I had a gift for it, too. So the stuff I would listen to I could play along, I could sing along. I tell this story about singing “Separate Ways” by Journey in front of my family. I was forced to do that, actually (laughs). I was like nine or ten and my cousin Lisa just shoved me into the corner and was like “Do it, do it!”. So I sang this song in front of my aunts and uncles and they were just like “Jesus Christ!” You know? So that was kind of like my first performance. From there it just got to be more and more, to the point where if I couldn’t do something musically, I would force myself to learn how to play it. So yeah, from a really early stand point in my life, music has been very, very important.
BD: So what’s your take on the musical styles of today versus the styles 5 years ago, 10 years ago, maybe even further than that?
CT: It’s kind of depressing, man. (laughs) It really is. There’s so much that’s just glossed over these days. It’s almost like this weird cross between the 60s and the 80s. It’s like singles were very big in the 60s. And then all the really weird, crappy, forced upon pop music of the 80s. So now you’ve got people who don’t really have the skills, because technology hides it, going out and putting these crappy singles out, and because that’s all there really is, people basically eat it like hamburgers. It’s become very, very commercialized. Which wouldn’t bother me as much if people actually had talent. When I listen to something and the first thing I notice is that it’s been turned into crap, I shut it off and throw it out the window of my car. Like it’s the most offensive thing to me. I was just having this conversation last night because the Grammy’s were on, and I would say 3 out of 4 people nominated were all autotune artists. At that point, you shouldn’t be allowed to be nominated in anything that has a vocal category. You should be nominated in an instrumental category because the computer did all the work for you. If you sound more like a keyboard than a human being, you shouldn’t be allowed to walk away with one of those trophies. Of course I’m in the minority when it comes to that, which pisses me off even further.
BD: I actually wrote a rant about that on Bloody Disgusting where I said that it’s wonderful that Adele won all these awards, but rather than celebrating her victories, we should be mourning that she was basically our only choice. And that there wasn’t anything else.
CT: Absolutely. I was really happy when they honored her, because she deserves it. I mean, she’s such a huge fucking talent. I don’t care who you are, when she sings it’s just gets all into you. But I completely agree! It’s like you’re hoisting them up because it’s like, in a sea of shit, you look for the one person who’s got a life preserver, you know?
BD: Yup. And then there was the acceptance speech by Dave Grohl, which I thought was fantastic, where he said, “Winning this award proves that it’s people with talent and that it’s okay to make the mistakes as long as you’ve got it in your heart and in your head and you show your talent and you show your worth, that’s where awards should be given.” But then at the same time, later in the show, he played with David Guetta and DeadMau5 and there was a lot of computerized music, a lot of autotune going on right at that movie.
CT: Well, with something like that, that’s kind of what Mau5 is known for. He takes shit and he shreds it up. He’s kinda like Skrillex in that where you kind of expect that to happen. But for me it’s more about the pop stars, these quote unquote pop stars. The American Idol War Machine is what I call it. Because they keep cranking out this mediocre fuck heads, shoving them in the studio for 10 seconds and then they basically autocorrect everything. With something like what he did with DeadMau5, because I didn’t see that part, because I shut it off after a while like, “Jesus”, when they started with the tribute to Whitney Houston. I mean, what did you expect? She smoked fucking crack. Okay? When you smoke crack, you’re going to die! I’m a cynical fuck. But to me, I think that with something like that [Foo Fighters and DeadMau5] that’s trying to show that there’s some kind of unity in music. I think that’s him trying to do something where it bridges the gap. But you’re absolutely right. It’s kinda sad that you put somebody up there like that.
BD: So, do you feel that today’s teenage generation is lazy or easily persuaded and how to do you think that bodes for the future of the industry and the future of music itself?

CT: I think you’re always gonna have half the generation that’s lazy. But I think it makes the other half work that much harder. I think this generation that’s growing up really enjoying this pop music is gonna be the same as the people who grew up really liking Rick Astley. It’s passing fancy, as far as music goes. But I think because technology is so badly ruining music, it just breeds a generation that’s going to be completely 180 from that. I think the hungrier generation is just going to completely destroy any thought of trying that. I think we’re gonna have a lot more home grown rock n roll coming out soon. I’m hoping. Between the autotune pop and all these fucking hipster indie bands who are on every commercial, it’s kind of depressing in music right now. But, I think it’s kind of like me. When I was growing up in the 80s, a lot of that pop shit was just like, “What IS this?” And then I found my music in the thrash scene, in the hardcore punk scene, so I had that background and that made me want to make the sort of music I make today. So I think that half of the generation is going to come to the surface in the next five years.

BD: Okay. So how has the work that you’ve done with Slipknot and Stone Sour reflected what music means to you?
CT: I guess it’s reflected in the fact that I can still do it. If I hit a flat note, you’re gonna hear it. I’m really proud of the fact that anywhere, at any time, I can make music. A lot of people can’t do that. I just did a tour where it was basically just me and a guitar, and if I fucked up, I totally knew. And I let the audience know. I think the human side is reflected in the music I make, both with Skipknot and Stone Sour. You have to have that. For all the machines out there you have to have a soul. You have to have some place to come back. And I know there’s a lot of metal bands that use technology to hide shit because 9 times out of 10 you can’t tell one band from another because of it’s mixed, because of how the drums are being portrayed, because of how stock the guitars sound. So I know it’s a problem that really infects every facet of the industry. But for every 9 of those bands, there’s a band like Slipknot or Stone Sour that really tries to stand apart. If it works it works, if it doesn’t it doesn’t. So for me, the way I make music is just a reflection of how I think music should be made. Where you sit in a studio, and you make music, and you use technology to your advantage, not to hide all the blaring mistakes.
BD: Myself, I know when I hear those little errors on a CD it makes me love it that much more, because there is that humanity in it.
CT: Yeah, yeah! It’s one thing to hope for perfection, because you can get really close, and still have that human spot, and it’s a masterpiece. It’s another thing entirely to expect a song that is completely fucking homogenized and just canned and tuned and lifeless. I think at this point the music is pushing us closer to AI than any of the technology Apple is putting out.
BD: Do you feel that your fans are responding to music in a different way than fans of other music might respond?
CT: I would hope so. We put a lot of pride into what we do, I mean we don’t even try to hide shit. There are moments of brilliance on a Slipknot or a Stone Sour album that’s followed by just this, flub that felt great. I think the fans expect that because we’ve sort of trained them to expect it. We’ve shown them that, “Look, we’re gonna throw you for a loop on every album. But you need to know that it’s us. It’s not some engineer typing coordinates into a fucking computer screen. It’s us!” I think they expect that level. Because I think they know that when we put that much effort into it, our potential for excellence grows a thousand fold. I think that’s why people still get excited for Slipknot albums, because they know they’re going to see more of us than they will of any other artist. I mean when you’re looking for a house, you’re not looking for a house that’s perfect. You’re looking for that house to have character. And I think it’s those little bits of humanity they come from the music. That’s what the music brings out when you have that, it brings out the character of a song. You go back and listen to 30, 40 years of music, and all the great, great songs that we’ve had in our lives, they all have that character. They have that human nudge, they all have that human relation. You can relate to it. When you listen to a song like, I don’t know, “Ready Steady Go” by Generation X, you think, “Man, I could do that. That sounds great, that sounds fun,” You listen to it, you’re having fun, it’s making fun of the generation before it but it’s embracing the generation that’s coming after it. You don’t get that feel these days. No matter how hard the record industry or any of these canned artists try to shove it down our throats, you don’t get that sense of continuity. It’s more of a fucking factory at this point.
BD: Now, in your mind do you think music and rebellion go hand and hand, or do you think it takes the musician and the listener to form the relationship between the two?
CT: I think it’s both, honestly. I think it has to be both. Because you can be the angriest fucker in your basement, your whole life, and nobody is gonna give a shit. You need that response from the fan to fuel your sense of musical rebellion. It’s a cycle. I’ve always seen it as a cycle. Especially in a live sense. If you’re at a Slipknot show, and you’re feeding that energy to the audience, they then give it right back to us. So it’s very symbiotic, it’s very cyclic in a way. You can’t have one without the other. So I think the rebellion is reflected in the audience, but at the same time, the artist has to have that passion too. And I think once you’re a fan for life, you feed each other’s sense of passion and rage and whatnot. You really can’t have one without the other.
BD: I know you said that the new Stone Sour is gonna piss a lot of people off. For me, a lot of times it begins with the musician, but the moment that message hits the fans, they take it and go with it and make something new. It’s almost like you’ve raised a child, they’ve gone their own way, and now you just nurture them along.
CT: Yeah, yeah. People try to make the argument for being a role model and not being a role model. With me I walk a very thin line with that. On one hand, the stuff I write is, for me, to kind of get out, but I also know that people are going to interpret things in different ways, so I always try to make sure there’s a positive edge to what I’m saying. Whether it’s a song like “Heretic Anthem” or a song like “True Blast”, I try to make sure it’s a positive thing. You know, rage can be a positive thing. Feeling something like that can really not only empower you, but it can also let you let go of shit. I always try to put some sort of happy ending in there. Because I know that people are going to listen to this music, and if it’s too bleak, then what’s the fucking point? There’s a certain amount of responsibility there but there’s a point where if I feel like I’m catering to a certain kind of person then I’m not gonna get what I need out. So it’s really sort of like throwing something at a wall and hoping it sticks. With the new Stone Sour, it’s a concept album that deals with a person’s past, trying to move on in his life. He’s at that cross roads in his life where he either stays where he’s at, stagnates, doesn’t evolve at all becomes one of these perpetual adolescents. Or, he moves on to evolve into whatever he wants, a parent, a good person, a mature human being. There are those stages in life where you’re almost terrified to jettison the engines, you know? But you have to get to the next level, or you’re gonna get stuck where you are for the rest of your life. And that’s really what these CDs are gonna be. And the shit that I’m saying is gonna piss a lot of people off, because I think a lot of people are comfortable staying where they are in life. I’m saying, “Fuck that.” I’m challenging you to find the rest of your life, and to be a better person and move on.


Originally posted at: http://bloody-disgusting.com/news/3199275/interview-corey-taylor-talks-stone-sour-slipknot-fans-and-music-rebellion/

Under the Gun Review Gives Stone Sour's "House of Gold and Bones, Part 1" a 9 out of 10!

 Stone Sour’s House of Gold and Bones (Part 1) has all the hallmarks of an event, but somehow it feels like a non-event. It’s a fine record, but not in a showy or extravagant way – rather, its cutting, clinical precision is what gives it an air of accomplishment, neither excessive nor modest but dead on the mark. It’s as if the band conceived of each song in its entirety and moulded them carefully together to create something just as proficient in its full form. It is both stirring and profound, harbouring light beneath its darker moments and backhanded bile for all its emotiveness.


The mixture of tracks is particularly commendable. There are plenty of riled, aggressive anthems designed to raise the hackles and get a crowd going, but there are a surprising number of more wounded, heartfelt, even intimate tracks here. They contrast with the raucous splendour of the solos and offer a more human series of moments to counteract the will and domination of the heavier songs. Leading the fray, Corey Taylor’s vocals are as sharp and precise as the band’s music. He has the power to enliven a faster track, instil mayhem and malevolence in the surging guitars, and yet possesses a kind of broken frailty that brings real pathos to the slower moments. Best of all, House of Gold and Bones seems to be a grower, with repeated listening doing much to unveil its hidden glories.

The opening group of tracks set a temperamental, fearsome pace in motion. “Gone Sovereign” is ballsy and confrontational, with an oddly jubilant feel to its overture. The chorus spurs the song to come into its own, adding a gnarly toughness with the upsurge in tempo. This is in turn enhanced by the solos, which are drastic and wilful and give the song a real spark. “Absolute Zero” turns things up a notch again. The breakdowns are slick and cutting, with an enthusiastic beat and more excellent guitar work adding much to its fervour and appeal. It’s effective, commanding rock, rooting itself firmly in the conscience and building relentlessly to its conclusion. “A Rumor of Skin” can sound forced, but it’s forced in the most wonderful of ways. It’s likeable and invigorating, zealous in its pursuit of power and potential. The lyrics here are particularly striking – there’s a kind of reckless abandon to Taylor’s singing, with the dominance of the music serenading his aggressive resolutions with twisted glory. What’s perhaps most surprising about this opening series of tracks however is how generic they tend to sound. They’re easily accessible, widely engaging, and have a distinctively popular appeal. The balance of power and meaning gives them an edge, which the band capitalise on with their slower tracks.

The two-part “The Travelers” is a tender and heartfelt odyssey. Both parts are simplistic in sound and very stark for their vulnerability. The first part sounds quite saddened at times, yet it’s neither defeatist nor deadpan. The guitar and words evoke a light spark of hopefulness and Taylor never sounds quite resigned. The music ponders amiably until it fades out on a series of piercing whispers and harangued strings. The second part picks up several tracks later, immediately revoking the tone. This part is strangled and put upon, bearing some burdensome weight that it struggles angrily to shuffle off. Its piano work is intricate; the instrument a sullen, grim presence to underline the difficulties derided in the words. “Taciturn” is also worthy of mention. Taylor is alone and emotive, the need and pleading in his voice both tangible and affecting. The instrumentation is reserved at first, though as the vocals become increasingly harrowed, it erupts in something raspier, demanding, and demonstrative. The solo in particular is redolent of the sentiment in the lyrics, and as the song fades out the music retreats into a calm, methodical sway, accompanying Taylor with dignified grace.

House of Gold and Bones may be the finest thing Stone Sour have done, particularly if the second part (due early next year) lives up to the fine precedent set by this one. A consuming and compelling work, it deserves to rank among the year’s best.
SCORE: 9/10
Review written by Grace Duffy









Originally posted at: http://www.underthegunreview.net/2012/10/21/review-stone-sour-house-of-gold-and-bones-part-1/

Corey Taylor Describes His Inspiration for "House of Gold and Bones" on FUSE

After Fuse finished following Corey Taylor at New York Comic Con this past weekend, we sat down with the Slipknot and Stone Sour frontman to talk about Stone Sour's new concept album The House of Gold & Bones, his comic book (also called The House of Gold & Bones) and Pink Floyd. The whole video's worth a watch but some highlights:
On the origin of The House of Gold & Bones: "I got it from a book called Team of Rivals, which is a book about the Lincoln administration. It was from a letter describing Lincoln's balance between melancholy and positivity . They described him as being made of gold and bones, and I was like, 'That's brilliant.' I love the visual of that."
On Gold & Bones's theme: "At its heart, it's a morality play. It's about choices. It's about decisions. It's about the journey to find out who you are in this life and who you want to be. That’s something we all go through."
For more about The House of Gold and Bones, including Pink Floyd's influence on the album, check out the full interview:

 

Originally posted at: http://www.fuse.tv/videos/2012/10/slipknot-corey-taylor-lincoln-biography

Corey Taylor On Fuse!

Check out more after the jump:

Stone Sour's Corey Taylor Featured in Metal Hammer!

Stone Sour's Newest Lyric Video Discussed on Metal Sucks

Here's what Metal Sucks' writer Vince Neil had to say about Stone Sour's video for Gone Sovereign/Absolute Zero:

I do not understand the backlash against Stone Sour. OK, they’re not br00tal… and? Not only are these two new songs insanely catchy, but they’re executed with flare — double bass! scorching guitar solos! no AutoLabonte vocals! — and they’ve certainly got some quotient of heavy even if they aren’t going to rip your bowels out. If you’re a fan of heavy music and you can’t enjoy these songs simply because they aren’t heavy enough I might suggest you have some deep psychological issues you ought to get checked out.

Originally posted at: http://www.metalsucks.net/2012/08/31/lyric-video-round-up-ex-deo-enslaved-and-stone-stour/

Metal Sucks' Axl Rosenburg Reviews the New Stone Sour Singles!

 

I guess I woke up on the right side of the bed today, ’cause I just listened to these two new Stone Sour songs, ”Gone Sovereign” and “Absolute Zero,” and I did not hate them. Don’t get me wrong, I think they’re totally silly. But I completely understand their appeal. They’re catchy! They’re heavy but not overwhelmingly so! They have fun guitar solos! The vocals don’t sound like they were recorded by a robot! I’ll take this over the new All That Remains song any day of the week and twice on Sundays.
Headbang here, then tell me if I’m crazy or if these songs are actually tolerable (or perhaps even above-tolerable?) in the comments section below. The tunes will appear on Stone Sour’s new album,  House of Gold and Bones, which comes out October 23 on Roadrunner.
-AR

Originally posted at: http://www.metalsucks.net/2012/08/14/these-two-new-stone-sour-songs-are-not-the-worst-thing-ever/