I can remember going to the beach as a kid and going through the waves, and just getting scared to death from kicking one of these things. The image of the, I don’t even know what you call that guy, the sea guy or whatever he is, he is on top of a horseshoe crab. We wanted to do something that wasn’t quite so graphic as the previous records, Psychic Warfare, especially. He usually works with artists to bring some ideas to life. The artist that we ended up using was a Swiss illustrator, actually. Is there a story behind that visual image of the record? But I wanted to talk about the artwork on this one, it’s incredibly striking. The album art is something I rarely ask about, because more often than not it’s an afterthought. If we had taken those ideas out live, we might have made different choices when we actually got into the studio. I had not actually looked at it like that. I think that probably would’ve happened, I think you’re right. That lent this record its unique vibe.ĭo you think that you would’ve had a chance to play these songs and you maybe would’ve gone, “Oh, these are darker, this is downbeat, let’s party it up, let’s add some party?” Usually, we have this idea that we put on stage, at least a few times before we get into the studio, and that didn’t happen this time. How are we going to approach this idea? And what was I going to play? I wasn’t really sure. So we went into the studio and there was sort of a lot of gray areas. Part of that I think has to do with the fact that we did not have the opportunity to play these ideas live. I think it’s a darker record than I thought we were going to make. As the writing process went along, I started to realise, “That’s not at all what we have.” I think it was when we were actually recording the record, is when I fully understood, this album is really very different than anything we had envisioned, and probably pretty different than the records that have come before it. I wanted it to be upbeat, and I wanted it to be fun I wanted it to be fast, maybe something that was a little bit like Earth Rocker. When we began this album it was, for lack of a better word, a party record. You mentioned that this came out as a different album, when you sort of stepped back and caught your breath from it all. There’s one comment that I really want to hone in on. As BLUNT would learn speaking with drummer JP, aka Jean Paul Gaster, it wasn’t long before the band realised that was the right decision. Experimenting for the first time with vibraphones, theremin, and backing vocals (provided by Deborah Bond and Frenchie Davis), Clutch courted the weirdness. It may have been a surprise, but Sunrise On Slaughter Beach wasn’t an accident. That’s the signpost up ahead – your next stop, Sunrise on Slaughter Beach, the brand new, and thirteenth, album from Clutch.Ĭonsidering the twelve other album studio sessions, it’s rare that anything could take Clutch by surprise, but with ‘Slaughter Beach’, things went differently – in the band’s words, they got “weird.” There are points, such as ‘Red Alert (Boss Metal Zone)’ and ‘Mercy Brown’, that anchor the album firmly in the universe of Clutch, but other moments like ‘Jackhammer Our Names’ take the listener well and truly into uncharted quadrants of it. A journey into a wondrous land whose boundaries are that of imagination. You’re travelling through another dimension, a dimension not only of sight and sound but of groove based-rock.
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