Heavy metal history is littered with the corpses of "supergroups" that looked incredible on paper but sounded like a cluttered mess in the studio. Then there was Scar the Martyr. When Joey Jordison was ousted from Slipknot—a move that still stings for a lot of fans—people expected him to go back to his horror-punk roots with Murderdolls or maybe join another massive established act. Instead, he gave us something dense, industrial, and surprisingly experimental. It wasn’t just a rebound band. It was a statement.
Honestly, the self-titled debut album from Scar the Martyr is one of the most underrated releases of the 2010s. It didn't try to be Iowa 2.0. It didn't try to chase the radio-rock trends that were killing the genre at the time. It was a moody, atmospheric, and often crushing exploration of what happens when a world-class drummer decides to write almost everything himself.
The Birth of a New Sound
The project didn't start in a boardroom. It started in Joey's home studio. He was writing riffs—lots of them. Most people forget that Joey wasn't just a guy who hit things with sticks; he was a multi-instrumentalist who understood melody and tension. To bring these ideas to life, he recruited Henry Derek Bonner on vocals, a choice that confused some but eventually made perfect sense. Bonner had this grit, a versatility that could pivot from a death metal growl to a haunting clean vocal without it feeling like forced "butt-rock."
The lineup was stacked, too. You had Jed Simon from Strapping Young Lad and Kris Norris from Darkest Hour. If you know anything about metal, you know those names mean technical proficiency and absolute riff-heavy carnage. They weren't just hired guns. They brought a specific texture to the Scar the Martyr sound that separated it from the groove-heavy chaos of Slipknot.
The recording process at Sound Farm Studios in Iowa was intense. Working with producer Rhys Fulber was a stroke of genius. Fulber is a legend in the industrial world, having worked with Fear Factory and Front Line Assembly. That influence is all over the Scar the Martyr record. You can hear it in the cold, mechanical pulses underlying tracks like "Blood Host." It feels machine-like but breathes with human frustration.
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Why the Debut Album Still Holds Up
Let’s talk about that first record. Released in 2013, it was long. Over an hour long. That was a bold move in an era where attention spans were already starting to crater.
"Blood Host" was the lead single, and it’s a banger. The opening riff has this churning, mid-tempo weight that feels like a steamroller. But the deeper cuts are where the real magic is. Take a song like "Last Night on Earth." It’s sprawling. It’s gothic. It’s got these soaring choruses that feel like they belong in a stadium, yet the lyrics are claustrophobic and dark.
Most metal side projects fail because they feel like b-sides from the main band. Scar the Martyr never felt like Slipknot leftovers. It felt like Joey Jordison finally being able to nerd out on his love for post-punk, industrial, and black metal all at once. The drumming, as you’d expect, is surgical. But it’s restrained when it needs to be. He wasn't just playing fast to prove he still could; he was playing for the song.
The Personnel Dynamics
- Henry Derek Bonner: His voice was polarizing. Some fans wanted a Corey Taylor clone. They didn't get one. Bonner brought a swampy, southern-gothic vibe to the metal framework.
- The Keyboards: Chris Vrenna (Nine Inch Nails) contributed some additional programming. This is why the album sounds so "expensive" and layered. It’s not just two guitars and a drum kit; it’s a wall of sound.
- The Riffs: Jed Simon’s influence is felt in the precision. There’s a "thrashiness" to the bridge sections that screams Strapping Young Lad, but slowed down to a doom-metal crawl.
The Sudden Silence and the Vimic Transition
Why did it end? It’s a question that still bugs collectors. After the touring cycle, things just... stopped. There were rumors of tension, the usual "creative differences," and eventually, Bonner left the band.
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Joey didn't give up on the music, though. He eventually pivoted the remains of the project into a new band called Vimic. But if we’re being real, Vimic felt different. It was more polished, more melodic, and lacked that specific "grit" that made Scar the Martyr feel dangerous.
Then came the health struggles. Joey’s battle with transverse myelitis—a neurological condition that cost him the use of his legs for a time—is well-documented. It’s heartbreaking to look back at the Scar the Martyr era and realize he was likely already dealing with the early stages of those physical hurdles. The fact that he toured and played with such intensity is a testament to his sheer will.
The Legacy of Scar the Martyr
When Joey passed away in 2021, the metal world lost a titan. Since then, there’s been a massive resurgence in interest for his "non-Slipknot" work. People are finally going back and realizing that Scar the Martyr wasn't just a footnote. It was a high-water mark for industrial metal in the 21st century.
It’s a "musician's album." If you play guitar or drums, you listen to this and see the blueprints. You see how to layer dissonant chords over a steady beat without losing the hook. It’s a masterclass in atmosphere.
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You’ve got to wonder what a second album would have sounded like. Would they have leaned harder into the industrial stuff? Or gone full-blown prog? We’ll never know. But what we have is a singular, dark, and heavy piece of art that stands alone.
How to Revisit the Music Today
If you're looking to dive back in, don't just shuffle it on Spotify. This is an album that demands to be heard in order. It’s a journey.
- Start with the "Darkness Becomes You" EP: Some of the tracks here show the more experimental side of the sessions.
- Watch the live footage: There are videos of them playing at festivals like Soundwave. Seeing Joey play these songs live gives you a different perspective on the complexity of the arrangements.
- Listen for the "Ghost" notes: Joey’s drumming on this record is full of subtle flourishes that you’ll miss if you’re just listening for the blast beats.
- Read the lyrics: Bonner’s writing is surprisingly poetic. It deals with isolation, betrayal, and the physical toll of living hard. It’s a heavy read, literally and figuratively.
Scar the Martyr wasn't meant to be a pop-metal sensation. It was a cathartic release for a man who had been the heartbeat of the biggest metal band in the world and suddenly found himself starting over. It sounds like struggle. It sounds like defiance. And that’s exactly why it still matters today.
If you’re a fan of heavy music that actually has a soul—and isn’t afraid to get a little weird—you owe it to yourself to put on some good headphones and let this record beat you up for an hour. It’s the best way to honor Joey’s vision.
Actionable Insights for Fans and Collectors:
- Track down the Japanese Edition: It contains the bonus track "Flatline & Fracture," which is arguably one of the best songs from the sessions.
- Vinyl Hunting: The vinyl pressings of the self-titled album are becoming increasingly rare and expensive on the secondary market. If you see one at a record store for under $50, buy it immediately.
- Support the Members: Many of the musicians involved, like Jed Simon and Kris Norris, are still active in the scene. Following their current projects is the best way to keep the spirit of this era alive.
- Digital Preservation: Since side projects often disappear from streaming services during licensing disputes, consider buying a physical CD or a high-quality FLAC download to ensure you always have access to the music.