Slipknot’s Corey Taylor has spoken about his favourite ABBA song and recalled growing up with the band’s music in a new interview.
The Swedish pop group are set to return with their first studio album in 40 years next week (November 5) with ‘Voyage’.
Speaking to the New York Times, the Slipknot frontman shared his first experiences of hearing ABBA as a kid. “Growing up in the ‘70s, there was such a weird amalgam of music all over the place,” he said. “I had Elvis; I had Motown; I had weird disco.
“Through all of that, I remember hearing ABBA’s music. It seemed like it was always on, and it was clearly different from everything else. It had this full-spectrum lush production that felt and sounded big. It was only four people, but those songs sounded like there were a thousand people being recorded. The math didn’t add up to me.”
Taylor cited the band’s 1978 single ‘Take A Chance On Me’ as his favourite song by the reunited pop group. “I love the juxtaposition; the beginning sets the whole tone for the song, with this weird Gregorian monk-like chant going on, and all of a sudden the crazy European production kicks in,” he explained.
“The modulation in those songs is beautiful; it hooks you in, the way it plays between the major and the minor,” he added. “I just love the yearning feeling. When you put it on, I’m instantly in a good mood.”
ABBA confirmed their reunion in September, announcing the new album ‘Voyage’ alongside a “revolutionary” concert experience that will see them take up residency at London’s Queen Elizabeth Olympic Park in 2022.
The shows will see a “digital” version of ABBA “in their prime” of 1979 – not holograms – perform alongside a 10-piece live band, which includes musicians like Little Boots and Klaxons’ James Righton. The imagery of the band was made in collaboration with George Lucas’ special effects company, Industrial Light & Magic – using motion capture technology and created by an 850-strong team.
Meanwhile, ABBA’s Björn Ulvaeus has said they were treated like the “enemies” of progressive music in Sweden in the ‘70s. “Personally I didn’t pay attention to all that – it didn’t mean shit to me, even if they hated us,” he said of their home country’s response to them. “Because we got so much response from the whole world. Right from the start, we had contemporary colleagues, musicians, who liked what we were doing.”