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And new music is imminent.

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Valero Texas Open weather delay: The Open keeps changing the start time after hazardous weather. Here’s the latest.

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Slipknot’s albums don’t evolve in a straight line. They lurch, reset and fracture, because every one of them came out of a different kind of chaos — a different lineup, a different headspace, a different set of problems the band was trying to survive.

Seven studio albums across three decades, and no two of them attempt the same thing. This is the complete discography ranked worst to best, judged on impact, longevity and how each record actually holds up in 2026 rather than how it felt at release. The gap between the early chaos and the modern era is a lot narrower than most people are willing to admit.

How this ranking was built

Not nostalgia, and not chart position.

Four things: how much a record changed the band’s identity, how it hits today rather than when it landed, how it translates live in 2026, and whether it still feels dangerous or diluted.

If it lost its edge over time, it drops. That criterion does more work here than on most discographies, because Slipknot have spent thirty years being measured against a version of themselves that existed for about eighteen months.

There’s also a live-shaped question hanging over the whole catalogue right now. The band are in another period of transition — Sid Wilson confirmed his own exit in August 2026 after twenty-nine years, following Joey Jordison, Chris Fehn and Craig Jones out the door.

Loaded Radio Recommends: Slipknot Members 2026: Current Lineup And Who’s In The Band Now

7. All Hope Is Gone (2008)

Key tracks: “Psychosocial,” “Dead Memories,” “Snuff”

The only Slipknot record that feels like it’s holding tension back rather than letting it spill.

The songs are enormous and undeniably effective. “Psychosocial” became one of the biggest heavy singles of its decade and remains a permanent fixture in the live set. “Snuff” proved Corey Taylor could carry a ballad without the band collapsing around him. “Dead Memories” is a genuinely great piece of writing.

But the unpredictability that defines this band isn’t really present. There’s a sense of separation in how it comes together — multiple directions that never fully lock into one, and a production polish that smooths off the edges rather than sharpening them.

It’s also the album made under the most internal strain. The recording process has been described by members as fractious, and it was the last record with Joey Jordison behind the kit.

It works. It just doesn’t feel unstable enough to rank higher, and instability is the thing this band trades in.

6. The End, So Far (2022)

Key tracks: “The Chapeltown Rag,” “Yen,” “Adderall”

The most divisive record they’ve made, and the one that rewards patience most.

It leans into atmosphere and pacing rather than constant impact. “Adderall” opens the album on piano and electronics — a genuinely bold decision for a band whose reputation is built on the first thirty seconds of “(sic).” “Yen” is closer to a torch song than anything they’d attempted. And then “The Chapeltown Rag” arrives to remind you what they are.

The unevenness is exactly what divides people. If you came expecting a return to early chaos, it won’t land. If you’re tracking where the band is actually heading, it gets more interesting every year.

It was also their final album for Roadrunner, ending a relationship that had run since 1998 — and the record has taken on a different weight now that the band’s future is fully independent.

5. .5: The Gray Chapter (2014)

Key tracks: “Custer,” “The Devil In I,” “The Negative One”

This album carries weight for reasons that go well beyond the music.

Paul Gray died in 2010. Joey Jordison departed in 2013. There was a genuine question about whether Slipknot could continue at all, and the title — a half-step in the numbering they’d used since the debut — is the band acknowledging they came back incomplete.

What arrived was heavy in a different way. The aggression is focused rather than frantic. “Custer” brings back real bite and has become one of the most reliably violent moments in any modern set. “The Devil In I” gave them a genuine hit built on restraint. “The Negative One” moves like something mechanical and unwell.

It’s a record about grief that refuses to be a grief record, and it’s a considerably better album than its position here suggests. On a discography this strong, fifth is not an insult.

4. We Are Not Your Kind (2019)

Key tracks: “Unsainted,” “Solway Firth,” “Nero Forte”

This is where the modern era fully takes shape.

Everything is more deliberate — structure, atmosphere, pacing. It’s less about overwhelming speed and more about control and the tension that comes from withholding. “Unsainted” pulls listeners in with one of the best choruses they’ve written. “Solway Firth” and “Nero Forte” prove they can still level a room when they choose to.

The interludes matter here in a way they hadn’t since Iowa. “Insert Coin,” “What’s Next” and “Not Long For This World” aren’t filler, they’re structural — they give the heavy material somewhere to land.

It doesn’t try to recreate the past. It builds something darker and more patient instead.

If you’re placing this outside the top four, there’s a decent chance you’re still measuring everything against 2001.

3. Vol. 3: (The Subliminal Verses) (2004)

Key tracks: “Duality,” “Before I Forget,” “Vermilion”

The turning point that could have gone very wrong.

After Iowa, the obvious move was to double down on the chaos. Instead the band brought in Rick Rubin and expanded — acoustic elements, layered melodic vocals, actual song structures. It added range without stripping away identity, which is the hardest trick in heavy music and one almost nobody pulls off.

“Duality” took them to a level of visibility no nine-piece masked band should have reached. “Before I Forget” confirmed it wasn’t a fluke and won them their only Grammy, for Best Metal Performance in 2006. “Vermilion” and its acoustic counterpart showed a band with far more range than the mask ever suggested.

And the heavy material is still there — “The Blister Exists” and “Pulse of the Maggots” are among the most percussive things in the catalogue.

Without this album, Slipknot burn out inside five years. With it, they got another twenty.

2. Slipknot (1999)

Key tracks: “(sic),” “Wait and Bleed,” “Surfacing,” “Eyeless”

This didn’t introduce the band. It disrupted everything around it.

The density alone separates it from everything else on shelves that year. Multiple percussion layers, samples, turntables, a sound that felt genuinely overwhelming rather than controlled. Produced by Ross Robinson at Indigo Ranch in Malibu, it captured nine people in a room who sounded like they might not survive the session.

“Wait and Bleed” made it accessible. “(sic),” “Eyeless” and “Surfacing” made it unavoidable. And “Scissors” — eight minutes of genuine dread with a hidden track buried after several minutes of silence — signposted exactly where Iowa was heading.

It’s now certified double platinum, and it still doesn’t sound safe. That’s why it holds this position.

1. Iowa (2001)

Key tracks: “Disasterpiece,” “People = Shit,” “The Heretic Anthem,” “Iowa”

There’s no balance here. No attempt to make anything easier to absorb.

Recorded across January to March 2001 at Sound City and Sound Image in Van Nuys, again with Ross Robinson, Iowa is the sound of a band pushing itself into something genuinely unstable — enormous sudden fame, real internal friction, and a collective decision to make something hostile rather than build on the debut’s success.

“Disasterpiece” and “People = Shit” don’t just hit, they feel like they’re barely holding together. “The Heretic Anthem” is a thrash sprint. And the fifteen-minute title track that closes it isn’t a song so much as an endurance test — formless, dragging, and never intended to be enjoyable.

Wikipedia’s own summary is blunt about it: Iowa is considered the band’s heaviest and darkest album. That’s the consensus, and the band have never seriously tried to go back there.

Every Slipknot record since has been measured against this one, which is both the reason it sits at number one and the reason the rest of the catalogue gets undervalued.

If you’re putting anything above Iowa, you’re choosing control over chaos. That’s where the entire debate splits.

Check This Out: The 13 Most Brutal Slipknot Songs Ever Recorded (Ranked)

The full ranking

7. All Hope Is Gone (2008)
6. The End, So Far (2022)
5. .5: The Gray Chapter (2014)
4. We Are Not Your Kind (2019)
3. Vol. 3: (The Subliminal Verses) (2004)
2. Slipknot (1999)
1. Iowa (2001)

Slipknot albums in release order

Slipknot — 1999, Roadrunner
Iowa — 2001, Roadrunner
Vol. 3: (The Subliminal Verses) — 2004, Roadrunner
All Hope Is Gone — 2008, Roadrunner
.5: The Gray Chapter — 2014, Roadrunner
We Are Not Your Kind — 2019, Roadrunner
The End, So Far — 2022, Roadrunner

Where Mate. Feed. Kill. Repeat. Fits

It matters historically. It doesn’t belong in this ranking, and here’s why.

Released in 1996, three years before the debut, Mate. Feed. Kill. Repeat. was self-released in a run of roughly a thousand copies with a completely different vocalist — Anders Colsefni, not Corey Taylor — and a sound closer to death metal and jazz-inflected experimentation than anything the band became.

The structure is different, the identity is different, and the personnel are substantially different. It functions as a prototype rather than part of the discography most people are actually comparing.

It’s a fascinating artefact and original copies sell for serious money. It’s not a Slipknot album in the sense this list means.

Where this ranking will start fights

All Hope Is Gone at seven is the one that generates the most argument, and it’s worth being clear: it’s not a bad album. It contains “Psychosocial,” which is one of their biggest songs full stop. It ranks last because it’s the least unstable record in a catalogue where instability is the defining quality.

Vol. 3 above We Are Not Your Kind will annoy the modern-era listeners. The case is simple — one of them saved the band’s career and won them a Grammy, the other is a very good album.

The debut over Vol. 3 isn’t really contested. Iowa over the debut is contested constantly, and it comes down to whether you value the record that changed everything or the record that went furthest.

And there’s a growing camp who’d put The End, So Far considerably higher than sixth. Ask again in five years — that album keeps quietly gaining ground.

If you want more of this, the full Loaded Radio rankings archive is here, and the heaviest songs in the catalogue is the natural companion piece.

Where the band stands now

Worth a short update, because this lineup has changed more than most.

Formed in Des Moines in 1995, Slipknot broke through with the 1999 debut on Roadrunner and have sold more than 30 million records worldwide.

Bassist Paul Gray died in 2010. Drummer Joey Jordison left in 2013 and died in 2021. Percussionist Chris Fehn departed in 2019. Sampler Craig Jones exited in 2023. And in August 2026, Sid Wilson confirmed his own departure after twenty-nine years, with no reason given by either party.

We’ve broken down why the lineup turns over as often as it does and the full history of every departure separately.

What hasn’t changed is the guitar partnership — Jim Root and Mick Thomson have been the constant since 1996 and 1999 respectively — and the fact that this band remains the defining act to come out of everything that era produced.

This year also finally saw the release of Look Outside Your Window, the experimental side record recorded during the Vol. 3 sessions that sat unreleased for nearly two decades.

TL;DR

Not included: 1996’s Mate. Feed. Kill. Repeat., self-released with a different vocalist and a fundamentally different sound.

Seven studio albums from 1999’s self-titled debut to 2022’s The End, So Far, all released via Roadrunner Records.

Best: Iowa (2001) — the band at their most unstable, aggressive and uncompromising, and an intensity they’ve never fully matched since.

Worst: All Hope Is Gone (2008) — commercially enormous and home to “Psychosocial,” but the least dangerous-sounding record they’ve made.

The album that saved them: Vol. 3: (The Subliminal Verses), produced by Rick Rubin, which expanded the sound and won them their only Grammy for “Before I Forget.”

The most divisive: The End, So Far, which trades constant impact for atmosphere and keeps gaining defenders.

Check This Out: Unmasked & Unleashed – The Definitive Breakdown of Slipknot Guitarists Jim Root and Mick Thomson

FAQ

We Also Recommend – Why Slipknot Changes Members So Often Is More Complicated Than Fans Think

Seven albums, thirty years, and a number one that hasn’t been challenged since 2001. Does Iowa still hold it, or has the modern era caught up? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Slipknot Albums Ranked: The Complete Discography appeared first on Loaded Radio.

Arsonists Get All The Girls. Worship and more will open.

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Two ex-members of (hed)p.e. also took part in that set.

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(written by Islander) “The best-laid schemes o’ mice an’ men / Gang aft agley”. Once again those immortal words of Robert Burns come to mind on this Saturday. I’m not thinking of our regime’s war plans in Iran, because they clearly weren’t “best laid”. No, I’m thinking of my own plans for this roundup of […]

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That message involves a single digit.

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This is a lot cooler than Katy Perry going into space: NASA played Chappell Roan’s “Pink Pony Club” to wake up the astronauts on Artemis II this morning, and they were not happy when it was cut off early. “We were all eagerly awaiting the chorus,” Commander Reid Wiseman said.

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