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Released on August 9, 2019 We Are Not Your Kind (WANYK) solidified its place as a modern metal landmark, debuting at #1 on the Billboard 200
Instead of breaking the band, this tension became the album’s engine. The title itself— We Are Not Your Kind —was a reclamation of the band’s identity. It was a statement of defiance against the industry, fair-weather fans, and the people who doubted the band's longevity without specific members. Recording took place at EastWest Studios in Hollywood with producer Greg Fidelman, who previously worked on .5: The Gray Chapter . Fidelman’s production is notable for its "live" feel; it sounds like nine men playing in a room, capturing the aggression that some felt was polished off on their prior record. Slipknot - We Are Not Your Kind -2019-
: The album is regarded as one of Slipknot's most adventurous works, incorporating moody instrumentals, electronic loops, and even choral arrangements on the lead single "Unsainted". Lyrical Content : Frontman Corey Taylor Released on August 9, 2019 We Are Not
The title itself— We Are Not Your Kind —is a reclamation of identity. It functions as both a rallying cry for the band's fan base (the Maggots) and a middle finger to a judgmental society. In "Nero Forte" and "Critical Darling," Taylor explores the exhaustion of performing for others, delivered with a vocal performance that seamlessly shifts from haunting melodies to throat-tearing roars. A Return to Form and a Leap Forward Recording took place at EastWest Studios in Hollywood
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The most immediate evolution on We Are Not Your Kind is its sonic palette. While previous albums relied on a relentless percussive assault, this record understands the terrifying power of silence and space. The opening track, “Insert Coin,” is a ghostly, ambient synth piece that feels like waking up in an abandoned hospital. It disorients the listener before the title track erupts not with a scream, but with a mechanical, lurching groove. Percussionist Shawn “Clown” Crahan and drummer Jay Weinberg (the late Joey Jordison’s successor) create a landscape of industrial clatter and syncopated chaos. Songs like “Unsainted” pair a massive, choir-led chorus with a beat that stutters and gasps, as if it is fighting for air. Meanwhile, “Spiders” is the most un-Slipknot song in their catalog—a creeping, keyboard-driven gothic waltz that evokes the paranoid cool of Nick Cave trapped in a carnival funhouse. This willingness to experiment suggests a band finally comfortable enough in its skin to tear it apart and stitch it back together differently.