Music
Exclusive: Stone Sour’s Corey Taylor Scares Up New Tunes
“It was basically like living in the Haunted Mansion at Disneyland,” chuckles Corey Taylor in regards to the old house in Nashville Stone Sour resided in while recording Audio Secrecy.
Given the help of those ghosts and some insects, Stone Sour’s third album will definitely haunt listeners for years to come—from the swirling hypnotic haze of “Threadbare” and “Nylon 6/6” to the gut-busting anthemic power of “Mission Statement” and “Let’s Be Honest.” Thankfully the ghosts reflected in Audio Secrecy are the unforgettable kind that’ll make you sing again and again.
Given the creepy nature of Stone Sour’s recording situation, Dolor author Rick Florino and BloodyDisgusting.com caught up with Corey Taylor to discuss what scared him the most while recording Audio Secrecy for this exclusive.
What was your worst Haunted Mansion moment?
Other than seeing the shadows and stuff…that was weird, man! I guess the worst moments would’ve been when the wasps got in [Laughs]. God, I can’t tell you how freaked out I was. I have such a weirdness about wasps and bees. These wasps were huge, they were pissed off, and they were coming for us. There was no doubt about it. It was getting very real very quickly. It was still a problem up until we left! You had to run to your car. You had to run to take the garbage out! It was crazy! You couldn’t open the doors and windows up. You couldn’t do this and you couldn’t do that. I think the wasps were the biggest bane of my existence.
It’s like a biblical plague!
It really was dude! There were skylights in all of the rooms for the most part—especially where I was staying. Every goddamn day, I’d look up, and there would be this huge wasp sitting up the skylight either inside or outside. I’d be like, “Really?” There’s no way to sit in your room comfortably knowing there’s a huge bug up there waiting. You can’t open the window because more would come in! It sucked! I didn’t know what the hell to do half the time. There’s nothing like getting dressed staring at the ceiling. You’re not even paying attention to what you’re putting on because you’re watching that thing to make sure you know where it’s going. It was gnarly!
Audio Secrecy is available in three different formats. You can get the standard 14 track version, a special edition with 3 bonus tracks and a DVD, or a limited edition 2 LP version that comes with a signed lithograph and a chance to find a golden ticket to meet Stone Sour!
Grab it HERE!
It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.
Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.
Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.
“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.
“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”
You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…
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