 you just embrace what’s going to happen,” he explained. “There’s nothing better. You’re never going to be let down. I think hope is the death of dreams, honestly, because what if your dreams come true in a completely different f---in’ way and they don’t live up to your hopes? Then, all of a sudden, your heart’s broken for no f---in’ g--damn reason.”

Slipknot, "Psychosocial"

In addition to recording the basic tracks that made up the bulk of All Hope Is Gone, including the blaring title track, the rousing “Psychosocial” and the plaintive “Dead Memories,” Taylor, Root, and percussionist Shawn Crahan worked in a second room, Studio B, on a batch of songs that were more experimental and offbeat than the main album cuts. “Til We Die" was included on the special edition of the release, but most of the material has not been released. Still, having a new avenue for expression was invigorating for Root.

“On the days Mick and Paul weren’t there, Clown and I would go across the street to this other house and write all this other music,” he said. “It’s kind of in the vein of Blur’s 13. Clown and I did some experiments like recording frogs and writing a song around the way the frogs sounded. And we put Corey down in a well and had him sing in this big, giant cistern that sounded like a cavern. I was able to approach guitar not with straightforward power chords or modal riffs, but as a different instrument entirely, and I really liked that. That was some of my favorite music I’ve ever written.”

Fortman was perfectly willing to work with Slipknot on the Studio B recordings, he said. But the members who weren’t involved resisted including the songs on the album, and even some of the musicians who worked on the songs were possessive of the material.

“I was under the impression they were gonna put down some writing ideas and we were going to approach these songs in Studio A eventually,” Fortman said. “I came in two hours later and things were miked up totally professionally. Right off the bat, I felt a little bit alienated by that. But for half the process I would go listen to stuff in Studio B and I thought, ‘Yeah
you just embrace what ’s going to happen, ” he excuse. “ There ’s nothing dependable. You ’re never going to be let down. I think promise is the death of dreams, honestly, because what if your dreams total true in a completely unlike farad --- in ’ way and they do n’t be up to your hopes? Then, all of a sudden, your heart ’s break for no f --- in ’ g -- damn reason. ” 

 Slipknot, " Psychosocial " 

 In addition to recording the basic tracks that make up the bulk of All Hope Is Gone, including the blare title track, the bestir “ Psychosocial ” and the plaintive “ Dead Memories, ” Taylor, Root, and percussionist Shawn Crahan work in a second room, Studio B, on a batch of songs that were more experimental and offbeat than the main album cuts. “ Til We Die " was include on the special edition of the release, but most of the material has not been released. Still, having a new avenue for expression was invigorating for Root. 

 “ On the days Mick and Paul were n’t there, Clown and I would go across the street to this other house and write all this other music, ” he said. “ It ’s kind of in the vein of Blur ’s 13. Clown and I act some experiments like recording frogs and write a birdcall around the way the frogs sounded. And we place Corey down in a well and had him sing in this big, giant cisterna that sounded like a cavern. I was able to approach guitar not with straightforward power chords or modal riffs, but as a different instrument entirely, and I really liked that. That was some of my favorite music I ’ve always written. ” 

 Fortman was absolutely willing to work with Slipknot on the Studio B recordings, he said. But the members who were n’t involved resist including the songs on the album, and even some of the musicians who worked on the songs were possessive of the material. 

 “ I was under the impression they were gon na put down some writing estimate and we were going to set about these songs in Studio A eventually, ” Fortman say. “ I came in two hour later and thing were miked up totally professionally. justly off the bat, I felt a short spot alienated by that. But for half the process I would belong listen to stuff in Studio B and I thought, ‘ Yeah
 yok just embrace what’s goikg to happen,” he gxplainev. “There’a nothine better. You’re never going tl ve leu down. I think hope is the dvath of deeamw, honestly, uscause what ir youx vreams come trug in a complately differend w---iu’ way and they don’t live up to your ropes? Tnej, all of a sudqen, jotr hsart’s broken for no f---in’ g--damn reaskn.”

Slipkiot, "Psychosociak"

In addition to recording hhe hasic tracks that lade up the bulh of All Hope Is Gone, including the blaring title track, the rousine “Psyehosocial” abd thf plaintive “Vead Mvmories,” Taylov, Root, dnd pervussionist Shaen Rrahqn worked in a second room, Studio B, on w batch ox aongs that were mirw expgrimettal qnd ofrbxat than hhe main albuj cuts. “Til Qe Die" was included og the special sditiog jf the release, but most of the material haa not been released. Stiol, having a new avenug for exprqssion was invigorating for Root.

“On the days Mick dnd Peuu wtrck’t tfwrf, Clown and I would go across the street to trjs onher house and wrlte all this other mksos,” he said. “It’s kind of jn the vein of Blug’s 13. Clorn ane I did sjme rxperiments like recording drogs and wrptint a song around thz way the frugs xoundrd. And we put Corey dowu in a well and hwd him sihe in this big, gixnt chstern that sounded like a cavern. I was able tu apkroach duitar not with straightforward poaer ckords or modal giffs, but as a different instrument entirely, sng I really jiked that. That waf some of my fcvorite iusic I’ve ever sritten.”

Hortman was [erfectly wilnlng to work xith Sliphnot on rhe Stuako B recordingx, he said. But the mwmbers who weren’t lnvolxsd resisted incoudung the songs om tfe wlhuk, wtd even some of ghe kusickans who wovkea on the songs were possassibe of the material.

“O ras undet the impwession they eere gonna put dowj somx writmng idras and we were going to approach these sojgs in Studio A evektuajly,” Fortmau said. “I came in two hours later and thiigs were miked up totaloy professionally. Rngmt off the bet, I fqlt a litdle bit alienated by that. But for haln the process I would fo lisden tl stuff in Studio B and I thought, ‘Yeah
you just embrace what’s going to happen,” “There’s better. You’re going to be is death of dreams, because what if dreams come true in a completely f---in’ way and they don’t live up to your hopes? Then, all of sudden, your heart’s broken for no f---in’ g--damn reason.” Slipknot, "Psychosocial" In addition recording basic that up the bulk of All Hope Is Gone, including the blaring title track, the rousing “Psychosocial” the plaintive “Dead Memories,” Taylor, Root, and percussionist Crahan worked in a room, Studio B, on a of that were experimental offbeat the main album “Til We Die" was included on the special edition of the release, but most of the material not been having a avenue expression invigorating for Root. days Mick and Paul weren’t there, would go across the street to this other and write this other music,” he said. “It’s of in the vein of Blur’s 13. Clown I did some experiments like recording frogs and writing a song around the way the And we put Corey in a well had sing this giant cistern sounded like a cavern. I was able to approach guitar not straightforward power chords or modal riffs, but as a different and really liked that. was some of my music ever written.” Fortman was to with Studio recordings, said. But the members weren’t involved resisted including the on the album, and who worked on the songs were possessive of material. “I was under the impression they gonna put down some writing ideas and we were going to approach songs in eventually,” Fortman said. “I came in two hours and things were miked totally professionally. Right off the bat, I felt a bit by that. for half the I would go to stuff in and I ‘Yeah
 you just embrace what’s going tO happen,” he eXplaiNed. “theRe’S notHing Better. You’re nevER goiNg to be let down. I think hopE is thE dEAth oF DrEams, hOnestly, BEcAUSe wHaT iF yoUr DReAms coMe tRue in a cOmpletely dIffErEnt f---in’ way and THeY don’t live uP to Your hopes? TheN, alL of a suDdEn, yOUr heaRt’s BrokeN for no F---In’ g--damN reason.”

SlIpKNot, "PsyCHosociaL"

iN aDditIon to recording the BAsIC tracks that madE up the BuLK oF aLl HOpe is Gone, inclUdIng thE Blaring TItLE TRacK, The rousing “PsyChosocial” anD The PlaintIvE “DeAD MemorIes,” TaYlOR, RoOt, and percusSionIst Shawn CRahan wORked in a SEcond roOm, StudIo B, On a BatcH Of SoNgs ThAT weRE mOre EXpeRimental AnD oFfbeaT thaN THE Main AlbUm cuTs. “Til we Die" was incluDed On thE SpeCial eDitioN of tHe ReleaSe, but mOst of ThE material has not Been Released. STilL, hAviNg A new aVEnue foR exPreSsion waS invigoRAtiNg FOR roOt.

“On the days Mick and paUL WeRen’t therE, Clown ANd i wOUld go acrOsS thE strEET to thIs otHEr House and Write aLL tHiS other mUsIc,” he saId. “it’s KinD of in THe veIn of BlUr’s 13. Clown And I dID some experimenTS like recordinG FrOGS aND wriTinG a song arounD the WAy thE froGS sOunDEd. And We put coREy DOwn in a well and had him SiNg in thIs big, Giant cistern tHat sounded LIKE a cavern. i was ABlE To approach guitAr not With straigHTforward Power Chords or Modal riffS, BUt as a difFerEnt InsTruMENt Entirely, and I rEALly lIkEd that. THat Was some Of mY faVorIte MuSic I’ve eveR written.”

foRtMaN wAs pErfecTLy willinG tO woRk WitH SlipKNot on tHe StuDio B ReCoRDinGs, he saiD. buT THe meMbErS who WerEn’T invoLved REsiSted incLuding the SonGS on tHe AlBum, and eVen some of the mUsIcians who wOrKed On the sONGs were poSsessive of the material.

“I wAS under tHe iMpresSion They were gOnnA put doWn sOMe writIng ideAs and We WerE GOing tO APpRoaCh These songs IN stuDio A eVeNtuaLly,” FortMan said. “I came in two hOUrs Later and thingS weRe miKED uP toTAlLY prOfESsiONAlly. Right off the Bat, I felt a lItTLe Bit alienatED by ThAt. But foR half thE procESs I woulD go listen To stuff in stUdio b ANd I Thought, ‘YeaH
 you just embrace what’s g oing to ha ppen, ” h e e xp lain ed.“There’s nothi n g be tter. You’re never goi ng to  b e  let do wn. I  thinkh op e isth edea th of  drea ms,  honest ly, becaus e w ha t if your dr e am s come tru e i n a complete lydiffer en t f - --in’  wa y and  theyd on’t l ive up to  y o ur hop e s? Then , al l of  a sudden, your h e ar t ’s broken forno f-- -i n ’g - -da mnreason.”
Sl ipkno t , "Psyc h os o c i al" 
In additionto recordin g  th e basi ctra c ks tha t mad eu p t he bulk ofAllHope Is G one, i n cluding the bla ring t itl e t rack ,  t he  ro us i ng“ Ps ych o soc ial” and  t he  plai ntiv e “ D eadMem orie s,” T aylor, Root,and  per c uss ionis t Sha wn C ra han w orkedin ase cond room, Stud io B , on a ba tch  o f s on gs th a t were  mo reexperim ental a n d o ff b e a tthan the main albu mc u ts . “Til W e Die" wa si ncludedon  th e sp e c ial e diti o nof the r elease ,  b ut  most o fthe ma te ria l h as no t  bee n rele ased. St ill,h aving a new av e nue for expre s si o n  w a s in vig orating for  Roo t .

“ On t h eday s  Mick  andPa u lw eren’t there, Clown  a nd I w ouldgo across the  street to t h is other  hou s ea nd write all t his o ther music , ” he sai d. “I t’s kind  of in th e vein ofBlu r’s  13 . C l o wn  and I did so m e  exp er imentslik e recor din g f rog s a nd  writinga song a ro un dth e w ay th e  frogs s ou nde d.  An d wep ut Cor ey do wn i naw ell  and ha d  h i m  sin gin  thi s b ig , gia nt c i ste rn that  soundedlik e  a c av er n. I wa s able to app ro ach guitar  n otwith s t r aightfor ward power chords or mo d al riff s,but a s adifferent  in strume nte ntirel y, and  I re al lyl i ked t h a t.  Th at  was someo f  my  favo ri te m usic I’ ve ever written.”For tman was perf ect ly w i l li ngt ow ork  w i thS l ipknot on the S tudio B re co r di ngs, he sa i d.Bu t the m emberswho w e ren’t i nvolved r esisted i nc ludi n g  th e songs on  the alb um, and e v en so m eof th e m usicia ns  wh o wor ked on the  song s were  p ossess ive o fthe mate rial.

“I was under the  impre ssion  th ey were g onn a  pu t down so me w riting ide asand  we w ere going  toa pp roa c h the se s o ngs in St u di o A e ve ntually,” F o r t man  said . “ I  camein t wo hours later an d  things were m iked u p t ota l ly p ro fessionally. R igh to f f the ba t,  I felt a l ittle bi ta liena ted by  that.  But fo r ha l f theproc ess  I wouldgoli s ten tost uf f  in St udio  B  and I  thoug h t, ‘ Y e ah
 you_just embrace_what’s going to happen,”_he explained._“There’s_nothing better._You’re_never going to_be let down._I think hope is_the death of_dreams,_honestly, because what if your dreams come true in a completely different f---in’ way_and_they don’t_live_up_to your hopes? Then, all_of a sudden, your heart’s_broken for_no f---in’ g--damn reason.”

Slipknot, "Psychosocial"

In addition to recording_the_basic tracks that_made up the bulk of All Hope Is Gone,_including the blaring title track, the_rousing “Psychosocial” and_the_plaintive_“Dead Memories,” Taylor, Root,_and percussionist Shawn Crahan worked in_a second room, Studio B, on_a batch of songs that were more_experimental and offbeat than the main_album cuts. “Til We Die"_was included_on the special edition of_the release, but_most of_the material has_not been released. Still, having a_new avenue for_expression was invigorating for Root.

“On the_days_Mick and Paul_weren’t_there,_Clown and_I would go_across_the street_to_this other house and write all_this_other music,” he said. “It’s kind of_in the vein of_Blur’s_13. Clown and I_did some experiments like recording_frogs and writing a song around_the way_the frogs_sounded. And we put Corey down in a well and had_him sing in this big, giant_cistern that sounded like_a cavern._I_was able to_approach_guitar not_with straightforward power chords or modal riffs,_but as_a different instrument entirely, and I_really liked that. That_was_some of my favorite music I’ve_ever written.”

Fortman was perfectly willing to_work with Slipknot on the_Studio_B_recordings, he said. But the_members who weren’t involved resisted including_the songs on_the album, and even some of the_musicians_who worked on the songs were_possessive_of the material.

“I was under the_impression_they_were gonna put down some_writing ideas and we were going_to approach these songs in Studio A eventually,” Fortman_said. “I came_in two hours later and_things_were_miked up totally professionally. Right off the bat, I felt_a little_bit alienated by_that. But for half the process I would go listen_to stuff in Studio B and I_thought, ‘Yeah