Maryland rockers Clutch have put out a new single, “The Drifter Returns,” backed by an official lyric video below.
The song isn’t coming out of nowhere. Clutch has already been playing “The Drifter Returns” live at recent shows, and it marks the first taste of the follow-up to 2022’s Sunrise On Slaughter Beach.
Clutch has been chipping away at new material between tour dates, working toward what will be its fourteenth studio album. The band had previously said producer Tom Dalgety was back in the fold, but those plans seem to have fallen through.
Clutch has more in common with The Grateful Dead, Rush and The Allman Brothers than the riffs and wordplay might suggest. Like those bands, the people who follow Clutch show up for the experience and the community as much as the music, and loving this band tends to come with a real sense of belonging.
The lineup goes back to high school: Neil Fallon (vocals), Tim Sult (guitar), Dan Maines (bass) and Jean-Paul Gaster (drums) met as Seneca Valley High School classmates and have stayed locked in for three decades running. Coming out of the same scene that produced Bad Brains, Minor Threat and Rites Of Spring, Clutch built a sound around hardcore fury and loose, muscular stoner rock, all wrapped in Fallon’s wordy, offbeat lyrics.
Over the years, the band has toured with Slayer and System Of A Down and more recently co-headlined with Dropkick Murphys, Killswitch Engage and Mastodon. Much like Slayer or Iron Maiden, Clutch has outlasted bands built around a hit single and the pressure to keep chasing one. The Germantown, Maryland foursome doesn’t chase trends, and across 13 studio albums and various other releases dating back to 1991, that’s earned them a reputation as one of the most respected bands in the game.
French black metal entity TAUFPATIN have released “La Colère de la Taufpatin,” the third preview of their debut album, Les Malfaisances de la Taufpatin. The record is scheduled for international release on October 7, 2026, through Antiq. The new track’s title translates as “The Anger of La Taufpatin” and continues the album’s deliberately mischievous story […]
Polish death metal veterans AZARATH will release their eighth studio album, Scorn Eternal, on November 20, 2026, through Agonia Records. It will be the band’s first full-length since Saint Desecration arrived in 2020. The announcement confirms that the group’s current lineup remains intact, with Skullripper handling guitars and vocals, Inferno of BEHEMOTH on drums and […]
Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at Steel HQ since it dropped in 1986. It features one of the most loony-tune vocal performances ever recorded courtesy of Mem Von Stein.1 Cuts like the title track, “Xion Darkstar,” and “Reign of Sadness” have been bouncing around in my meat brain for nearly 40 years, and their charm never fades.2 Since getting the band back together for a second run starting in 2012, their output has been surprisingly vibrant and spry. 2019s Hostile Defiance was especially nasty, hyperkinetic fun. Now, after a nearly 7-year wait, we get Death Mask Messiah. With a new drummer and bassist in tow, Exumer pick up where they left off and deliver an album’s worth of high-octane, all gas, no brakes accelerated fare with a strong 80s vibe. If it ain’t broke, thrash it!
Wasting only enough time to sample knives grinding against each other, the opening title track comes out looking for blood and treasure. It’s classic German thrash that will remind you a lot of Kreator at times, but the riff phrasing and style often sound like vintage Exodus. And honestly, that’s not a bad pair of influences with which to piece together a balls-to-the-wall basher like this. Von Stein still sounds like a raging maniac strung out on bath salts, and that main riff is nuclear fire. Equally effective is “Blinding Skies,” where I detect a lot of classic Vio-Lence in the confrontational riffscapes. Add some snarling vocals and wild solos, and you get a high-grade adrenaline rush sure to appeal to the speed junkies out there. “Sin Bleeder” is another standout, with a very Kreator-esque energy and style that would have fit on their recent album. Later track “Serpent” would be a close match as well.
Exumer switch up the formula slightly as things roll along to keep things fresh. Some tracks inject a crossover vibe with plenty of gang shouts, and these are good fun. “Eradication” has a punky vibe that recalls Warbringer and Sodom, and “Allocated Savagery” has a strong underlying punk energy too. Track after track delivers the thrashing goods, and there are cool moments embedded in every cut. I’m especially partial to the big, beefbrained power chugs in “Fratracide,” as they really kick you in the unsafe spaces. Exumer even grace us with a cover of Nasty Savage classic “Unchained Angel,” and Von Stein does a fantastic imitation of Nasty Ronnie (unless they unearthed the actual Nasty Ronnie from his gator-infested Floridian trailer park). What helps sell this material is Exumer’s ability to write choruses that actually stick; something many thrash bands tend to forget about. Several choruses from this thing have been bobbing around in my subconscious for a week, and that’s a win for songsmithing. At 43 minutes, Death Mask Messiah arrives, beats your stupid face to pork pulp, and leaves promptly with your wallet and beer supply. With a beefy production and a smooth master by Arthur Rizk, the sound is tight and not overly loudified.
I’ve been a fan of Mem Von Stein’s voKILLS since I was a dumb teen, and I feel the same way about him as a dumb geezer. He doesn’t sound as much like a deranged cartoon anymore, with his delivery fitting neatly between Kreator’s Mille and Vio-Lence’s Sean Killian. He has the perfect voice for thrash, and his snarls, barks, and screams are good, unfriendly, violent fun. Ray Mensch and Marc Bräutigam are a powerhouse guitar tandem, and they bring a gaggle of high-quality riffs to the speedfest. A lot of their leads have that Exodus vibe, but other influences bleed in too, and the solos these chaps rip off are wild and crazy. New kitman Jerome Reil goes bersekk on the drums and bashes his way to Valhalla and back. These cats know how to craft quality thrash, and as any good band should, they set out to pummel you from open to close. Mission accomplished.
Exumer continue to prove themselves the modern equals of the Big Three, and this is the second album in a row that impressed the hell out of me. Death Mask Messiah does nothing new or innovative, nor do I want that from Exumer. It just rips shit up and kicks you in the face with a size 12 steel-toed boot. That’s what thrash is for, so brace for face annihilation. RE-EXUMER!
Back in February, Danz CM released MYTHS, an ambient album with vintage synths. Today, the synth wiz is teasing a new project with two new songs called “Bontempi Pop 3” and “A Violent Power.”
Dominic Fike opened the Tame Impala show I attended this week, but I missed his set because I got false intel about its start time. Sorry, Dominic Fike! Here’s what I can do to make it up to you: a blog post about your new album announcement.
Montreal speed metal trio SKUMSTRIKE have released “Mastery of Sin,” the third and final advance track from their forthcoming second album, Flawless Intrigue from Hell. The record arrives on September 25, 2026, through Dying Victims Productions. The song is currently streaming exclusively through No Clean Singing. “Mastery of Sin” wastes little time building momentum. Hammering […]
Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at 