For nearly two decades, a sonic anomaly existed in the periphery of one of metal’s most formidable institutions. It wasn’t a lost Slipknot record, but rather a creative byproduct of one—a collection of brooding, melancholic textures that stripped away the masks and the aggression in favor of a stark, experimental intimacy.
That project, Look Outside Your Window, is finally emerging from the shadows. The self-titled debut will be released as a vinyl-only edition on April 18 for Record Store Day, marking the first time the full body of work will be available to the public.
The album was born during the 2008 recording sessions for Slipknot’s fourth studio album, All Hope Is Gone. In the downtime of those sessions at Sound Farm Studio in Jamaica, Iowa, M. Shawn Crahan—known to the world as “Clown”—and guitarist Jim Root began carving out a separate space for sonic exploration. What started as a way to channel excess creativity eventually drew in vocalist Corey Taylor and DJ Sid Wilson, forming a quartet dedicated to a sound that owed more to the avant-garde than the mosh pit.
“If Slipknot hadn’t been in there, we would’ve never done this,” Crahan says. He describes the project as a necessary emotional release, a way to “vomit wonderful feelings” during a period of significant internal turbulence for the band.
The Architecture of an ‘Open Lab’
The genesis of Look Outside Your Window can be traced back to an “open lab” philosophy introduced by producer Rick Rubin during the making of 2004’s Vol. 3: (The Subliminal Verses). The concept was simple: create a safe, separate environment where musicians could experiment without the pressure of the final album’s expectations.
When the band moved into the Iowa studio for All Hope Is Gone, Crahan established a modest satellite studio in his rented room. The experimentation soon outgrew the space, leading the quartet to rent a nearby farmhouse to further their sonic dabbling. This environment allowed the members to swap roles and instruments; Sid Wilson played piano, while Corey Taylor experimented with drums and the percussion kegs typically handled by Crahan.
This spirit of uninhibited curiosity led to some of the album’s most unconventional recording techniques. Crahan, describing himself as an experimentalist, sought sounds that were “truthful in the moment.” This included recording the natural sounds of crickets and toads—which the engineer initially viewed as a nuisance—and coaxing Taylor to record vocals from the bottom of a water well to capture its natural, murky reverb.
A Study in Melancholy and Influence
Sonically, the album is a departure from the high-decibel assault of Slipknot. The mood is brooding and introspective, with the band citing Radiohead—specifically the experimentalism of Kid A—as a primary touchstone. Crahan’s own influences for the project are a wide net, spanning the early alternative movement of the 1990s, from Soundgarden’s Louder Than Love and the Smashing Pumpkins’ Gish to the abrasive sounds of Steve Albini and Big Black.
The emotional weight of the record is tied to the “trying times” the brotherhood was experiencing. Crahan notes that while the album doesn’t necessarily make him cry, “it hurts,” serving as a timestamp for the grief and tension that surrounded the era, including the eventual loss of bassist Paul Gray.
The tracks reflect this fragility:
- “11th March”: An opener featuring Taylor delivering a near-tearful plea for unity amidst clanging, whirring sounds.
- “Juliette”: A pensive, guitar-driven track that Crahan describes as a philosophical exploration of what one is willing to die for.
- “Dirge”: A percussive piece that leans toward the style of Q Lazzarus.
- “Is Real”: One of the few hard-rock leaning tracks, featuring guest vocals and a poem by Cristina Scabbia of Lacuna Coil.
The Collaboration with Cristina Scabbia
The inclusion of Lacuna Coil frontwoman Cristina Scabbia added another layer of experimental texture to the project. At the request of Crahan, Scabbia wrote and recited an original poem in Italian, which served as a “letter of intent” regarding batteries that cannot be recharged. The recording process was rigorous, with Crahan and Root producing her to ensure the delivery had maximum conviction. According to Crahan, Scabbia may have also recorded portions of her contribution from the bottom of the same water well used by Taylor.
The Lasting Impact on Slipknot’s Evolution
While Look Outside Your Window remained a secret for years—with only the track “‘Til We Die” appearing as a bonus on the deluxe edition of All Hope Is Gone—its influence permeated the main band’s later work. The “open lab” became a permanent fixture in Slipknot’s recording process, appearing during the sessions for .5: The Gray Chapter at Sunset Sound and We Are Not Your Kind.
Crahan points to the song “Adderall” from the album The Complete, So Far as a direct descendant of the Look Outside Your Window sessions, noting that the track’s modular synth origins and one-take recording were only possible because the band had established a culture of experimental freedom.
| Era/Album | Experimental Application |
|---|---|
| Vol. 3: (The Subliminal Verses) | Rick Rubin introduces the “open lab” theory. |
| All Hope Is Gone | Formation of Look Outside Your Window in an Iowa farmhouse. |
| .5: The Gray Chapter | Open lab established at Sunset Sound (Studio One/Two). |
| We Are Not Your Kind | Creation of 27 interludes via the open lab. |
| The End, So Far | “Adderall” created using modular synths in a single seize. |
Releasing the album now serves as the closing of a chapter. For years, the project was sidelined to avoid disrupting Slipknot’s rigorous album and touring cycles. Now, Crahan is ready to let the work stand on its own, even if it risks being confused with the primary band’s output.
As for the possibility of live performances, Crahan remains open to the idea, provided there is a genuine demand. He envisions a specialized, intricate ensemble capable of translating these atmospheric pieces to a stage, potentially for a handful of special shows.
The release of this vinyl edition marks the final step in bringing a nearly 20-year-old experiment into the light, providing a rare glimpse into the vulnerability of musicians usually known for their sonic brutality. Fans and collectors can look for the release at participating independent record stores on April 18.
We would love to hear your thoughts on this experimental pivot. Do you reckon more metal acts should embrace the “open lab” approach? Share your comments below.
