Studio Album · No. 7
The End, So Far Songwriting Credits by Slipknot
Produced by Joe Barresi · Engineered by Joe Barresi
Holds writing credit on 12 of 12 tracks
Authorship Breakdown 12 / 12 documented
Scored across the 12 tracks with documented writers, by whether Slipknot carries a lyricist or composer credit.
Share of the 12 tracks where a band member is credited, by role.
By the Numbers
The End, So Far is credited to Slipknot collectively, with songwriting shared among Corey Taylor, Jim Root, Shawn Crahan, and other members. It was the band's last album for Roadrunner Records, produced by Joe Barresi, and pushes into more experimental, melodic territory than their early work.
The End, So Far is the seventh studio album by Slipknot, released in September 2022 on Roadrunner Records and produced by Joe Barresi, a more experimental and atmospheric release than its predecessor, incorporating cleaner vocal passages, quieter dynamic sections, and a more cinematic production that extended the tonal range established on We Are Not Your Kind. The band wrote all material; 'The Dying Song (Time to Sing),' 'Yen,' 'Bone Church,' and the 10-minute closer 'Finale' are among the principal tracks, with the latter representing the most ambitions compositional format in the Slipknot catalog in terms of sustained structural development. The album debuted at number three on the Billboard 200 with 65,000 first-week units and received positive critical reviews that noted the continued evolution of the band's sound despite their two-decade career. The End, So Far is the first album recorded without corey Taylor committing to it being his last with the band, the album's title implying an ending that may or may not be actual, giving it a valedictory quality that was partly confirmed and partly undercut by subsequent touring activity. The End, So Far is Slipknot's most compositionally ambitious album and the most direct evidence of the band's continued desire to expand their formal vocabulary beyond the brutal efficiency of Iowa and All Hope Is Gone, demonstrating that the most commercially successful heavy metal band of the streaming era remained capable of genuine formal risk-taking after more than two decades of recording.