Album Review: CLUTCH Sunrise On Slaughter Beach


It does not really feel unfair to name Clutch inimitable at this stage, does it? There merely is not one other band that does it like they do. After three a long time of creating the area they occupy within the rock scene indisputably theirs they’ve performed with the formulation, injected their model of easy cool and turned all of the groove-makers as much as eleven and past with each album with out fail.

The Maryland four-piece are embodied by that sense of adventurousness of their music, which by no means strays too far into the territory of flat-out bizarre however pushes the borders of quirky again and again. Sunrise on Slaughter Beach, their 12th full size and first in over 4 years, brings each the acquainted and that sense of inventive enlargement collectively immediately with “Red Alert (Boss Metal Zone)” being precisely the roaring opener you’d anticipate from Clutch. All the punching riffs and bass tones are current and proper, with precisely the correct amount of on-brand humor to tell us we’re undoubtedly in the correct place for the following, unusually brief, less-than-forty minutes.

Short right here doesn’t imply unhealthy, nevertheless; that is an album that has been fine-tuned inside an inch of its life. “Slaughter Beach” rolls straight off of our potent introduction to it with matched firepower and a virtually bodily swagger to it, whereas the large, Dungeons & Dragons-themed “Mountains of Bone” bumps alongside in an atmospheric fashion that feels prefer it’s filling the complete air at occasions. It’s an excellent bit of huge music that feels overbearing however not overwhelming. From right here, the Southern-style slowdown creeps in an increasing number of; “Nosferatu Madre” and the standout “Mercy Brown” showcases Clutch turning down the tempo and turning up the appeal.

The large “We Strive For Excellence” then re-ignites the fireworks barrel with a Motörhead-esque little bit of heaviness to ensure we’re nonetheless accounted for earlier than a few of that boundary-pushing talked about earlier; the theremin tinged “Skeletons on Mars” offering more room for Clutch to fiddle with new sounds and daring selections to nice impact. Finally, the twang returns for the soul-warming “Jackhammer Our Names”, bringing a mellowness that faucets instantly into the a part of our mind that makes us really feel good to wrap issues up. Like sinking into your favourite chair after a protracted day of doing bizarre Clutch-related stuff.

You may put your home on Clutch developing with an album filled with intensely attention-grabbing sound, inventive lyricism and musical theatrics earlier than even going into Sunrise On Slaughter Beach and win all of it popping out of the opposite aspect. It’s grand with out pomposity, experimental with out an inch of fats and underwritten with grooves so thick you could possibly construct a bridge out of them. It does not do a lot new, not new for this band anyway, however Clutch is aware of precisely tips on how to get your coronary heart pumping and your physique shifting. I’d ask a pal to examine that you just aren’t clinically useless if you cannot handle both.


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