Slipknot - We Are Not Your Kind -2019- Access

Released: August 9, 2019
Recorded: 2018–2019 at EastWest Studios, Hollywood, California
Producer: Greg Fidelman (engineer of Vol. 3, producer of .5: The Gray Chapter)
Length: 63:29
Label: Roadrunner Records

This is the groove track. That opening bassline from Alessandro Venturella is slimy and hypnotic. Taylor adopts a lower, almost spoken-word cadence before exploding into a chorus about the mundane nature of suffering. The breakdown features percussionist Shawn "Clown" Crahan beating the ever-loving hell out of a keg. It is primal, ritualistic noise.

The longest true song on the album, "My Pain" is an ambient doomscape. It features whispered vocals, reversed samples, and a bass frequency so low it feels like a migraine. This is not a single; it’s an atmosphere. Taylor once described it as the sound of drowning in a dream. It is divisive, but essential to the album’s arc. Slipknot - We Are Not Your Kind -2019-

Imagine Tom Waits produced by Slipknot. That’s "Liar’s Funeral." It begins with a mournful, distorted piano and Taylor’s deep, almost gothic baritone. Slowly, the band creeps in—first the bass, then a snare hit, then a wall of noise. It’s a dirge for hypocrisy. This track proved that Slipknot could be terrifyingly slow.

We Are Not Your Kind is Slipknot’s most sonically diverse record since 2001’s Iowa. Producer Greg Fidelman (who mixed Vol. 3 and produced .5) pushed the band to incorporate atmospheric electronics, eerie piano, percussive industrial noise, and even choral elements. Released: August 9, 2019 Recorded: 2018–2019 at EastWest

The album’s weirdest moment. A minimalist, horror-jazz groove with Taylor singing in a low, detached baritone over distorted piano and a steady, ominous beat. “All the walls are bowing down”—pure paranoia. Live, it became a surreal interlude.

The album sits alongside 2001’s Iowa and 2004’s Vol. 3 as one of Slipknot’s most cohesive works, but it’s more reflective and textured than those raw, furious predecessors. It’s less about shock and more about sculpting emotion from sonics and performance. For long-time fans, it’s a reminder that the band can evolve without abandoning core identity; for newcomers, it’s a powerful entry point that demonstrates both brutality and nuance. Taylor adopts a lower, almost spoken-word cadence before

Lyrically, the album is dark, even by Slipknot standards. It eschews the "we are all maggots" unity of the early years for a more insular, nihilistic view. The central themes revolve around rejection, mental health struggles, and the feeling of being an outsider even among outsiders.