Slipknot Codexery

Industrial Samples

Abstract sound samples and guitar scratches define the intro track '742617000027'.

The track '742617000027' serves as the opening statement for Slipknot's debut album, named after the barcode of their previous demo. It features guitar scratches and abstract sound samples crafted by sampler Craig Jones. A defining moment in this soundscape is a specific vocal line: "The whole thing, I think it’s sick." This phrase was not recorded in the studio but sampled directly from an interview with a former cellmate of Manson Family member Susan Atkins, found in the 1973 documentary film Manson.

Quick Facts

Primary contributors
Shawn Crahan, Joey Jordison
Equipment type
Drum Machines & Samplers

Lore & Background

Craig Jones utilizes sampling to construct a dense, layered sonic environment that complements the band's heavy percussion. The inclusion of the voice from the Manson documentary interview adds a specific historical and unsettling weight to the album's atmosphere. These elements contribute to the "terrifying racket" described by Q magazine and the "inventive sampling" praised by Alternative Press. The samples act as textural instruments rather than mere noise, helping to establish the industrial influences noted by critics alongside death metal, thrash, and speed metal roots.

Reader's Guide

To understand the band's use of industrial textures, one must look at their rejection of standard digital mixing methods. Joey Jordison and Ross Robinson mixed the entire album using analog equipment instead of the more common digital formats available at the time. This decision was integral to achieving the raw, live sound the band desired. The integration of samples like those in "742617000027" demonstrates how the group fused disparate audio sources—from documentary interviews to guitar scratches—into a cohesive heavy metal framework. Critics noted this approach resulted in an "absolute percussive overload" and creative guitar work. The band's musical direction was further shaped by Robinson convincing them to cut experimental sections and guitar solos, focusing instead on a straightforward metal sound that highlighted their unique use of percussion and samples.

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