CLUTCH shares more in common with The Grateful Dead, Rush, and the Allman Brothers than their heavy riffs and heady twists-of-phrase might suggest. Because like those bands, the supporters who adore CLUTCH are there for the experience, community, and authentic connection. To love CLUTCH is to feel a sense of ownership, membership, and belonging. A worldwide cabal of fans and critics cherish the band’s dense and diverse catalog of underground classics, released through major labels, indies, and since 2009, Clutch’s own Weathermaker imprint. Sunrise On Slaughter Beach, the band’s thirteenth studio album, is a slamming summary of everything that makes the band great and another giant leap forward into career longevity. New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside the classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s. Sunrise On Slaughter Beach introduces some “firsts” into the Clutch canon: vibraphone (from Gaster), theremin (J. Robbins), and female backup vocals from singers Deborah Bond and Frenchie Davis. The album’s nine songs are a diverse ride, destined to please longtime fans and intrigue newcomers alike. It’s a new chapter in an ever-unfolding story which means as much to the fans as it does to the band.