“Iowa” Slipknot Compare to: (hed) p.e., Korn, Static-X *** 1/2

Iowans pretty much have two choices when it comes to Slipknot.

Be embarrassed and ashamed that these nine masked freaks are from Iowa, or recognize and embrace the fact that though they are weird and unorthodox, Slipknot makes good music.

Slipknot broke through with their 1999 self-titled major label debut, and garnered large amounts of success with little to no mainstream attention.

The raw and in-your-face sounds of that record were a wake-up call to rock music, reminding fans that anything limp or a bizkit isn’t real rock/ metal music.

Though it’s not as raw as its older sibling, Slipknot’s major label sophomore effort, “Iowa,” still packs quite a punch and keeps Slipknot atop the heap of scream-for-all metal bands.

“Iowa” does lack some of the more complicated drum beats from the earlier record that come from its three percussionists, Joey Jordison, Chris Fehn and Shawn Crahan, a trio that is capable of creating near tribal-like beats and a solid backdrop for Slipknot’s fury.

Vocalist Corey Taylor has matured a bit as a vocalist, now adding more singing and harmony in with his roaring and screaming. The song “My Plague” demonstrates this best with Taylor singing the chorus and shrieking through the verses.

The biggest downfall of “Iowa” is the lyrical content. One of the band’s favorite things to say, “people equal shit,” is screamed over and over in “People = Shit” and pretty much ruins a song with tight music.

The band’s overuse of satanic and “666” references appears to be them trying a little too hard to fit the crazy image they have created for themselves.

But music is still the focus of Slipknot, not necessarily the lyrics, and the band does a fine job showing their talent to write good music. After a few listens (preferably at high volumes) the songs will distinguish themselves from one another.

One can continue to complain about how Slipknot gives Iowa bad representation in the music industry or recognize that the band must be doing something right since it got where it is by word of mouth.

– Kyle Moss

“Thelema”,/b> Murder City Devils Compare to: the Stooges, Dead Boys, American Steel ****

As the years roll by, bands will attempt to change their sound in order to garner a broader audience with hopes of selling more albums. This may be at the expense of artistic creativity because of pressure from label heads.

The aforementioned description is known as selling out. Dispose of any thoughts of the Devils joining the throngs of outfits in this category.

What the Murder City Devils present on their latest EP, “Thelema” is a natural maturation from gritty rock `n’ roll anthems to a more refined sound that has no boundaries. The Devils find slowing down the tempo allows them to capture the essence of rock `n’ roll while still retaining their trademark edge.

Absent on most of the tracks on “Thelema” are Spencer Moody’s somewhat out-of-control raspy vocals. Instead, Moody has traded up for more restrained, melodic vocal qualities.

What’s apparent is Moody seems more confident in his natural talent rather than hiding behind a wall of distorted guitars and funeral parloresque organs.

Thematically, some things will never change. What makes the Murder City Devils the band they are is their love for horrific imagery and the macabre.

“Bear Away” would have tracked perfectly along murderous rants such as “Press Gang” and “Rum To Whiskey” from their second Sub Pop release “In Name and Blood.”

Moody belts out the lines: “We don’t need a doctor/ We need a sacrifice/ We need a sacrifice/ You better hide your babies, until the morning . You better outlive your mother.”

The Devils also include a previously released single, “364 Days,” their ode to St. Nick himself. This unorthodox recording opens with the line, “An open letter to St. Nicolas,” and is followed by the accompaniment of a violin and cello.

In the song, hope comes but once a year, while happiness is contained in a bottle. Yet more and more often each comes up empty.

“The morning is coming/ the whiskey is empty/ the gifts have arrived/ St. Nick has come and gone.” Don’t hold your breath finding this track included on any Time Life Christmas compilation.

Whether this EP is just an experiment or a hint of things to come from the Murder City Devils, it is a definite gem in their already achieved discography.

Pass the eggnog and don’t skimp on the rum.

– Boonie Boone

“Vespertine” Bjork Compare to: Portishead, Sugarcubes, Massive Attack ***1/2

Of all the darn shames that exist in today’s pop culture landscape, one of the most shameful is that Bjork is probably more known for the swan dress she wore to last year’s Oscars than for her music.

However, those familiar with her work understand that over the last 10 years it has been Bjork’s imaginative and unstructured sound that has created its own sub-category in pop music.

Without a doubt, Bjork is a little different from the rest of us. In her music, her off-kilter personality shines through in her sometimes tiny voice that is as capable of booming with layers of sensitivity and vulnerability as it is whispering.

The Bjork formula, which also includes string arrangements and techno beats, first got the world’s attention on her 1993 “Debut” album and has since bloomed into her 1997 record, “Homogenic,” and more recently, “Selmasongs,” the soundtrack to last year’s indie film “Dancer in the Dark.” On “Vespertine,” that patented Bjork formula continues.

Unfortunately, this is also where “Vespertine” falls short. For an ordinary album, “Vespertine” takes plenty of chances. The musical aptitude and poetic imagery reaches beyond that of any mortal musician.

However, the downfall of the record is the name on the sleeve. As the album rarely strays from what Bjork has previously offered listeners, one can’t help but think that the record’s weakness is that it’s a Bjork album and sounds like it.

Perhaps it is a little disappointing that Bjork is not revolutionizing music with this record. At the same time it is unfair to dismiss a record because the artist doesn’t appear to be challenging him or herself.

The optimistic rock critic would say the Bjork formula is a reliable way of gauging whether or not to buy this record. If you have enjoyed Bjork in the past, you will enjoy “Vespertine;” if you haven’t, you won’t.

– Matthew Peelen