Jay Weinberg says he couldn’t work with artists and was dying

When an iconic drummer steps away from a global act, the path forward often involves navigating unexpected creative detours. For Jay Weinberg, the journey after leaving Slipknot has been less about a sudden pivot and more about patiently building a bridge, even when legal hurdles stood in the way of the music.

Joining Slipknot in 2013, Weinberg experienced a profound shift in his creative life, a transition that he later described as being both deeply moving and blindsiding. While the band pursued a different creative direction, Weinberg focused on the essential element of music creation and sharing, finding himself determined to pursue other musical ventures.

He wasn’t just looking for a new band; he was looking for a space to fully explore the creative self that had been intensely focused on during his time with the group. This pursuit wasn’t without friction. Weinberg revealed that much of this new material had been simmering for years, but its release was delayed by unforeseen legal restrictions.

The main obstacle turned out to be the legal ability to collaborate with other artists. Weinberg explained that while he understood the desire to work privately, the legal framework prevented him from freely releasing or sharing the music, presenting a significant barrier to the collaborative spirit that fuels music.

“Without giving too much attention to any kind of one situation, not having the legal ability to play music with other people was definitely difficult because I look at music, at least the creation and sharing of it, it’s that twofold thing,” he noted. This realization highlighted how interconnected the process of making art is with the legal ability to share it.

Despite these limitations, the creative momentum continued. Weinberg has since immersed himself in various projects, including collaborating with groups like Suicidal Tenencies and Fuming Mouth, and creating new material with Canadian group Softcult on tracks like “Drown Fountain.” Furthermore, he has launched his own endeavor, Portraits of an Apparition, and has been actively honing solo work.

The process of making these songs wasn’t instantaneous. Weinberg mentioned that the ideas for collaborations, such as the one with Softcult, had been developing since 2013, and much of the solo material is the result of years of dedicated practice and refinement. He emphasized that he remains passionate about bringing these songs to fruition, finding deep emotional satisfaction in seeing his creative vision fully realized.

The experience underscores a universal truth for many artists: while creative passion is boundless, the machinery of the music industry sometimes demands navigating complex legal landscapes. Ultimately, Weinberg’s journey reflects a determination to reclaim his voice and ensure that the shared experience of music—the creation and sharing of it—remains accessible and legally sound for all.