Slipknot/Stone Sour Frontman Corey Taylor Reviews Death Grips’ “Government Plates”


Slipknot/Stone Sour frontman Corey Taylor takes on Death Grips‘ “Government Plates” in a new piece over at An excerpt from his review can be seen below with the full feature available at the link mentioned above:

“Most people don’t know this about me, but I like to listen to some pretty diverse shit when it comes to music. Being in two heavy bands, most fans automatically assume that I live in the land of Slayer and Neurosis all the time, screaming along in a dark, dank man cave somewhere deep in a secluded forest. While I love these particular bands — and that man cave is a time share — my taste in music is around the Cape and past the Horn, so to speak.

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I love my Frank Zappa just as much as I love my Ray LaMontagne. Sometimes it’s a Marvin Gaye day and sometimes I have a Minor Threat state of mind. So when I got the opportunity to write a piece about Death Grips, who I’d heard a lot about, I was thrilled and jumped at it like a frog on crack. (My apologies to any amphibians currently struggling with addiction.)

Government Plates is a thing of beauty. On my first listen, I had the overwhelming sense that if the Jon Spencer Blues Explosion had a threesome with Tricky and Wu-Tang, the resulting baby would be Death Grips and everyone involved would have to go on Maury Povich to figure out who the father was.

The album itself is bold, layered and pays respect to the past while denying the present’s existence entirely, making the future a more exciting prospect. This is deconstruction, the free jazz era of hip-hop. It’s a challenging listen in a good way; quite frankly, I think it’s gorgeous.

Starting with one of THE longest song titles ever committed to paper, “You might think he loves you for your money but I know what he really loves you for it’s your brand new leopard skin pillbox hat” (allow me to catch my breath…) is wonderfully erratic with musical panic.

From the first digital stream to the last analogue drum beat, it attacks the medium by never letting you get comfortable, all while the lyrics evince a hunger I haven’t heard in a while. With eerie harmonized vocals and pulsing rhymes, it’s a fantastic start to the excitement.”

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