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Shortly after announcing their fifteenth (!!!) studio album, Architects Of A New Weave, set for release on June 5, 2026 via Napalm Records, EVERGREY unveil their new single and manifest of beautiful darkness, “Architects Of The New Weave”, alongside a visually-striking animated video. Once again, Gothenburg’s finest export proves its unmatched ability to craft timeless melodies, powerful riffs, and […]

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The heaviest Slipknot songs aren’t always the famous ones. Across seven albums and thirty years, the band from Des Moines have built a catalogue that swings from radio-friendly hooks to genuinely disturbing sonic violence — and the tracks that sit at the extreme end are frequently the ones that never got a single, never got a video, and never made it onto a greatest-hits.

This is a ranking of the twenty-five heaviest things Slipknot have ever committed to tape, judged on sheer punishment rather than popularity. Nine of them come from one album, and there’s a good reason for that.

How this ranking works

Heaviness isn’t just speed, and it isn’t just volume.

Three things decide it here: sonic punishment — how physically hard the track hits; atmosphere — whether it feels genuinely unsettling rather than just loud; and what it does to a room — because Slipknot songs are built for crowds, and some of these turn arenas into disaster zones.

That’s why a mid-tempo grinder can outrank a fast one, and why a couple of the band’s best-known songs aren’t here at all. “Duality” is a great song. It isn’t one of their heaviest.

One thing worth saying up front: nine of the twenty-five come from Iowa. That’s not laziness. That record was made during a period the band have repeatedly described as genuinely dark, and it remains the heaviest thing in their catalogue by a distance — a point our full album ranking reaches independently.

25. Everything Ends (Iowa, 2001)

Pure contempt, and it barely gets mentioned.

There’s no build and no atmosphere — just a riff and a man shouting at you until it stops. Track five on Iowa, sandwiched between “My Plague” and “The Heretic Anthem,” which is why it gets overlooked. On any other album it would be a highlight. On Iowa it’s a breather.

24. Psychosocial (All Hope Is Gone, 2008)

Their biggest heavy single, and it earns a place here on the strength of that riff alone.

It’s more polished than most of this list, which is exactly why it sits at 24 rather than higher — but the pre-chorus stomp is one of the most physically effective things they’ve written, and live it still causes genuine problems.

23. Skin Ticket (Iowa, 2001)

The creeping one, and one of the most genuinely disturbing things on the record.

Iowa at its most uncomfortable — sparse, dragging, with Corey Taylor half-whispering through the verses before the whole thing collapses inward. It isn’t fast and it isn’t loud for most of its runtime.

It also went unplayed live for years. Its first ever live performance wasn’t until the 9.0: Live era, which tells you how difficult a piece it is to stage.

22. Three Nil (Vol. 3: The Subliminal Verses, 2004)

Vol. 3 gets characterized as the accessible album. “Three Nil” is the correction.

Rick Rubin — who produced Vol. 3, the only Slipknot album he worked on — strips it back to rhythm, and the result is all snap and impact with no padding. The bridge is one of Joey Jordison’s finest recorded moments.

21. Get This (Slipknot, 1999)

Grindcore fury, death metal riffing, and originally almost impossible to find.

It wasn’t on the debut album as released on June 29, 1999 — it was a bonus track, and for years it was a genuine deep cut that most casual listeners had never heard. It now appears on the standard streaming tracklist, which is the only reason a lot of people know it at all.

It remains one of the band’s most extreme recordings, and Revolver’s readers voted it onto their heaviest-songs list for exactly that reason.

20. The Chapeltown Rag (The End, So Far, 2022)

Released as the album’s first single on November 5, 2021 — eleven months before the record itself — and the moment the band signalled they hadn’t softened.

It was teased through a dedicated website and debuted live at Knotfest Roadshow in Los Angeles the same night it dropped.

It’s frantic, agitated and structurally unstable — the riffs keep interrupting each other. Corey Taylor sounds genuinely irritated rather than performatively angry, which is somehow worse.

19. My Plague (Iowa, 2001)

The second single from Iowa, released July 8, 2002 — which tells you something about how heavy that album is, because this is what they chose to promote it with.

Relentless from the first bar, with a chorus built to be screamed by twenty thousand people. A remixed version also appeared on the Resident Evil soundtrack that year, which put the band in front of an audience that had never gone near a Slipknot record.

18. Prosthetics (Slipknot, 1999)

Five minutes of the debut album at its most unpleasant.

A slow, grinding, deeply unsettling track about obsession that plods rather than sprints, and gets more uncomfortable the longer it goes. Nobody plays this at parties.

17. Nero Forte (We Are Not Your Kind, 2019)

The heaviest thing on their sixth album and one of the most technically vicious songs in the catalogue.

The riff work from Jim Root and Mick Thomson here is genuinely intricate, and the breakdown two-thirds through is the sort of thing that has aged into a live set staple purely on crowd demand.

16. Pulse of the Maggots (Vol. 3: The Subliminal Verses, 2004)

The anthem, and heavier than people remember.

It opens on a genuinely mean riff and doesn’t let go, and the “we are the new diabolic” refrain turned it into one of the band’s most durable live weapons. Vol. 3’s reputation as the melodic album has always undersold this one.

15. The Blister Exists (Vol. 3: The Subliminal Verses, 2004)

Opens with a marching drum line and turns into one of the most percussive assaults on any Slipknot record.

This is the track that best demonstrates why the band needed three percussionists. It’s rhythm as violence — and it was eventually released as a single in its own right in January 2006, nearly two years after the album.

14. Iowa (Iowa, 2001)

Fifteen minutes, closing the album, and the band’s single most disturbing recording.

It’s less a song than an endurance test — a slow, dragging, formless descent that spends most of its length going nowhere on purpose. The circumstances of the vocal take have become legend and the band have spoken about them repeatedly.

It isn’t enjoyable. It was never meant to be. And it’s the definitive statement of what that album was.

13. Metabolic (Iowa, 2001)

If you want a song that sounds like a psychological breakdown set to music, “Metabolic” is a perfect example of why Iowa still unsettles listeners more than two decades later.

The track is pure rage. Corey Taylor’s vocals feel like they’re tearing apart the microphone while the band locks into a suffocating groove that never lets up. The guitars grind rather than riff, creating an atmosphere that feels less like a metal song and more like an emotional implosion.

What makes it brutal isn’t speed or technicality. It’s the feeling that something inside the song is about to snap at any second.

12. Gematria (The Killing Name) (All Hope Is Gone, 2008)

When All Hope Is Gone arrived, some fans expected the band to soften. “Gematria” immediately proved the opposite.

The opening riff alone is a wall of precision brutality. Root and Thomson unleash a barrage of tightly controlled thrash-inspired riffs while the rhythm section pounds forward like a tank rolling over concrete.

What elevates it is the control. Instead of chaos, Slipknot deliver surgical aggression — every riff lands like a hammer, and the chorus explodes with the kind of venom that reminds you why this band has always walked the line between nu metal and extreme metal.

11. The Heretic Anthem (Iowa, 2001)

The infamous line “If you’re 555 then I’m 666” became one of the defining chants of Slipknot’s early career, but the song surrounding it is even more savage than the lyric.

It’s a thrash-infused sprint fuelled by blast-beat energy and frantic riffs — one of the fastest and most aggressive moments on Iowa, capturing the era where everything felt raw, reckless and genuinely dangerous.

Live, it becomes more violent still. The crowd reaction alone proves how deeply this one is wired into the fanbase.

10. Solway Firth (We Are Not Your Kind, 2019)

When We Are Not Your Kind dropped, “Solway Firth” immediately stood out as the heaviest thing the band had written in years.

The opening groove is a slow, crushing stomp that feels like it’s dragging chains behind it. Corey Taylor delivers one of the most ferocious vocal performances of his later career, shifting between snarling rage and throat-shredding screams.

What makes it brutal is the build. Rather than exploding immediately, it tightens the tension until the whole thing becomes an avalanche.

9. Custer (.5: The Gray Chapter, 2014)

“Custer” is Slipknot rediscovering the primitive violence that made them famous.

From the opening chant it becomes a rhythmic assault — drums pounding with tribal intensity, guitars locked into a groove designed specifically to trigger chaos in a live setting.

When the “cut, cut, cut me up” chant erupts, it isn’t a lyric, it’s a command. Few Slipknot songs have turned arenas into mayhem this consistently.

8. Eyeless (Slipknot, 1999)

One of the defining tracks from the debut, and the early band at its most unhinged.

The rhythm section explodes with unpredictable energy while the guitars slash through the mix like sirens. But the moment everyone remembers is Taylor screaming about not being able to see California without Marlon Brando’s eyes.

Chaotic, bizarre, feral. It feels less like a composition than nine musicians losing control simultaneously.

7. People = Shit (Iowa, 2001)

If one song defines the rage of Iowa, it’s this.

It opens with one of the most instantly recognisable screams in metal, then launches into a relentless barrage of riffs and blast-like percussion that never lets the listener breathe.

The title tells you everything about the attitude. Unapologetically hostile, brutally honest, and delivered with total commitment.

6. The Negative One (.5: The Gray Chapter, 2014)

A return to the band’s darker instincts, and the first thing they released after losing Paul Gray and parting with Joey Jordison.

It moves like a slow mechanical monster, grinding forward on thick riffs and eerie percussion. Taylor shifts between whispering menace and full-blown rage, building psychological tension with every passing minute.

Less a traditional metal song than a descent.

5. Surfacing (Slipknot, 1999)

Not just heavy — rebellious in the purest sense.

The groove is deceptively simple, and that simplicity is exactly what makes it devastating. When the chorus arrives with “I am the push that makes you move,” it becomes a rallying cry for every outsider who ever found solace in heavy music.

Live, the energy is volcanic. The crowd screams every word like a personal manifesto.

4. Scissors (Slipknot, 1999)

The sound of Slipknot experimenting with pure darkness.

Over eight minutes, beginning with unsettling atmospheres before mutating into something far more violent. By the closing minutes Taylor sounds genuinely unhinged, screaming into the void as the band spirals into chaotic noise.

Few songs in the catalogue feel this disturbing, and it’s the one that most clearly signposted where Iowa was heading.

3. (sic) (Slipknot, 1999)

The song that introduced the world to Slipknot’s sonic violence, and it still hits like a punch to the throat.

It opens the debut with explosive intensity — a riff that’s sharp, aggressive and immediately memorable, with drums and percussion creating a wall of rhythm that feels unstoppable.

The sound of a band announcing themselves with total confidence and zero restraint.

2. All Out Life (standalone single, 2018)

Released on Halloween 2018 as a one-off single, and it landed like a warning shot that the band had rediscovered their most vicious instincts.

It opens on a grinding, industrial-tinged groove that tightens the tension before exploding into one of the nastiest rhythmic assaults they’d delivered in years. Taylor sounds feral, snarling through verses that drip with contempt while the band stomps forward with the controlled violence of the Iowa era.

The real brutality is the chorus. The chant “We are not your kind” lands like a riot breaking out mid-song — and the band thought enough of the line to name their next album after it.

What makes it devastating isn’t just the heaviness. It’s the attitude. Decades in, and they can still summon the venom that once made them the most dangerous band in metal.

1. Disasterpiece (Iowa, 2001)

If a single Slipknot song defines pure sonic violence, it’s this one.

The opening riff launches straight into chaos while Joey Jordison’s drumming unleashes a barrage of speed and precision that feels genuinely inhuman. Taylor’s screams sound like they’re coming from somewhere deep inside the human psyche, and the opening line remains one of the most confrontational things ever put on a major-label record.

But the real power is the relentlessness. It never lets up. Every second is an assault, and it somehow follows “People = Shit” without the energy dipping for a moment.

Live, it transforms arenas into a tidal wave of bodies. That level of controlled chaos is why it’s held the top of this list since 2001, and why Revolver’s readers reached the same conclusion independently.

Nothing they’ve recorded since has come close.

The full ranking

25. Everything Ends — Iowa
24. Psychosocial — All Hope Is Gone
23. Skin Ticket — Iowa
22. Three Nil — Vol. 3: The Subliminal Verses
21. Get This — Slipknot
20. The Chapeltown Rag — The End, So Far
19. My Plague — Iowa
18. Prosthetics — Slipknot
17. Nero Forte — We Are Not Your Kind
16. Pulse of the Maggots — Vol. 3: The Subliminal Verses
15. The Blister Exists — Vol. 3: The Subliminal Verses
14. Iowa — Iowa
13. Metabolic — Iowa
12. Gematria (The Killing Name) — All Hope Is Gone
11. The Heretic Anthem — Iowa
10. Solway Firth — We Are Not Your Kind
9. Custer — .5: The Gray Chapter
8. Eyeless — Slipknot
7. People = Shit — Iowa
6. The Negative One — .5: The Gray Chapter
5. Surfacing — Slipknot
4. Scissors — Slipknot
3. (sic) — Slipknot
2. All Out Life — standalone single
1. Disasterpiece — Iowa

Why Iowa dominates this list

Nine of the twenty-five come from one album, and the reason is documented rather than mythologised.

Iowa was recorded between January 22 and March 16, 2001 at Sound City and Sound Image in Van Nuys, produced by Ross Robinson and the band, and released on August 28 that year. It came out of a period the band have consistently described as their darkest — enormous sudden fame, internal friction, side projects pulling members away, and a collective decision to make something deliberately hostile rather than build on the debut’s success.

The results are audible. There’s no radio single on that record that isn’t also punishing: “Left Behind” was Grammy-nominated and “My Plague” went to the Resident Evil soundtrack, and neither softens anything.

Every subsequent Slipknot album has been measured against it, and the band themselves have talked about the difficulty of returning to that headspace. They haven’t tried to, which is probably the healthy choice.

It’s why Iowa tops our ranking of every Slipknot album and why, twenty-five years on, it remains the benchmark for how heavy this band can get.

Where this list will start arguments

Three flashpoints, and we’ll defend all three.

“Duality” and “Before I Forget” aren’t here. Both are excellent. Neither is among their heaviest, and including them would be measuring popularity rather than punishment.

“Psychosocial” at 24. Too low for a lot of people. It’s their biggest heavy song, not their heaviest — the production is too clean to sit any higher on a list about sonic violence.

“All Out Life” at two, above “(sic)”. The most contested placement. A 2018 standalone single outranking the song that opened their debut is a real claim, and we’ll stand behind it: it’s the heavier recording, even if it isn’t the more important one.

If you want more of this, the full Loaded Radio rankings archive is here, and our ranking of the most brutal breakdowns in metal is the natural companion.

Where Slipknot stand now

Worth a short update, because this band’s lineup has changed considerably.

The 1999 debut and Iowa were made by the original nine. Bassist Paul Gray died in 2010. Drummer Joey Jordison — whose playing is on the top of this list — left in 2013 and died in 2021. Percussionist Chris Fehn departed in 2019, and in August 2026 Sid Wilson confirmed his own exit after twenty-nine years.

Our current lineup breakdown has who’s actually in the band today, and the full history of every departure covers the rest.

The band remain, three decades on, the defining act of everything that came out of that era — and this year finally released Look Outside Your Window, the experimental side record that sat unreleased for over a decade.

TL;DR

• Heaviest Slipknot song: “Disasterpiece” from Iowa (2001) — relentless speed, one of the most punishing rhythmic assaults in the catalogue, and a track that still turns arenas into disaster zones.
• The runner-up: “All Out Life,” released as a standalone single on Halloween 2018, whose chorus gave the following album its title.
• The album that dominates: Iowa supplies nine of the twenty-five, more than any other record.
• The most disturbing: the fifteen-minute Iowa title track, which closes that album and was never intended to be enjoyable.
• The deep cut worth finding: “Get This,” a two-minute grindcore blast originally released as a hard-to-find bonus track before appearing on the debut’s tenth anniversary reissue.
• What’s missing on purpose: “Duality” and “Before I Forget.” Both great songs, neither among the band’s heaviest.

FAQ

Twenty-five songs, nine of them from one album, and a number one that hasn’t been beaten since 2001. Where did we get it wrong, and what’s missing? Tell us in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Heaviest Slipknot Songs, Ranked appeared first on Loaded Radio.

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Two months after Swedish power metal outfit Sabaton was forced to shelf a North American tour after Pär Sundström needed treatment for inflammation in his arms, we now have rescheduled dates.

Set to kick off now on September 23 in Halifax, Nova Scotia and coming to a close on December 12 in Fort Lauderdale, Florida, the tour now features a stop in Orlando and a second show in Winnepeg because of high demand. Other stops along the tour’s route include Los Angeles, Toronto, Chicago, Philly, and Atlanta, to name a few.

That being said, the band said they were unfortunately going to have to cancel the previously scheduled shows in Tampa, Greensboro, and Pittsburgh — though they said there could be some news coming soon for the “Steel City”. Anyone with tickets to those now canceled shows should be able to get a refund at their official point of sale.

For everyone else, the new tour dates are listed below. If you’re so inclined, you should check out where they’ll be coming to a venue near you and get your tickets today.

Sabaton Live Dates

9/23 Halifax, NS Scotiabank Centre
9/25 Laval, QC Place Bell
9/27 Toronto, ON Great Canadian Casino Resort Toronto
10/1 Winnipeg, MB Burton Cummings Theatre
10/2 Winnipeg, MB Burton Cummings Theatre
10/4 Edmonton, AB Edmonton Convention Centre
10/5 Calgary, AB Grey Eagle Event Centre
10/7 Vancouver, BC PNE Forum
11/6 Dallas, TX South Side Ballroom
11/7 Houston, TX 713 Music Hall
11/8 San Antonio, TX Boeing Center at Tech Port
11/11 Phoenix, AZ Arizona Financial Theatre
11/12 Los Angeles, CA Hollywood Palladium
11/14 Wheatland, CA Hard Rock Live
11/17 Salt Lake City, UT The Union Event Center
11/18 Loveland, CO FCU Blue Arena
11/20 Omaha, NE Steelhouse Omaha
11/21 Milwaukee, WI Landmark Credit Union Live
11/22 Minneapolis, MN The Armory
11/24 Chicago, IL The Salt Shed
11/25 Des Moines, IA Vibrant Music Hall
11/27 St Louis, MO The Factory
11/28 Cincinnati, OH The Andrew J Brady Music Center
11/29 Detroit, MI The Fillmore
12/1 Boston, MA MGM Music Hall at Fenway
12/2 Philadelphia, PA The Met
12/5 Virginia Beach, VA The Dome by Rutter Mills
12/6 National Harbor, MD The Theater at MGM National Harbor
12/8 Atlanta, GA Coca-Cola Roxy
12/11 Orlando, FL Hard Rock Live
12/12 Ft Lauderdale, FL War Memorial Auditorium

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