Although Clutch emerged from the alt-Metal scene in the early 90's, they approached things a bit differently than their peers. While lunkheaded frat boys were moshing to all the down tuned bass and white boy rage that was prevalent at the time, Clutch played the kind of Metal that could groove every once in a while. Equal parts Stoner Rock, Southern Rock, Funk, and Blues, the Maryland band were one of the few bands at the time who dared to inject their aggressive music with a sense of fun and light-hearted lyricism. Their first four albums, while not huge mainstream successes by any stretch, did earn a massively avid cult following, but it wasn't until they joined DRT Records that they began to truly reach their potential.
It's very possible that Robot Hive / Exodus may well be the most surprising release in Clutch's illustrious career. Their style has been tweaked, revamped & fine-tuned often over the last 14 years, but I don't think it's ever been this obvious or in your face. Here is a band wearing their influences on their sleeve, letting hole-in-the-wall bar Rock 'N' Roll, Blues and even Gospel play a larger part in their sound than ever before. The keyboard work that so sweetened the end of Blast Tyrant has become a permanent fixture in the form of keyboardist Mick Schauer. His contributions are phenomenally impressive and it's obvious the band was eager to travel down the new avenues available to them with a keyboardist. The overall sound is leagues closer to the Stoner Rock label that has always been attributed to Clutch. And, lyrically, this may be their most bizarre album to date.
Things get off to a frisky, unpredictable start with The Incomparable Mr. Flannery, a song powered by a molasses-thick groove and Neil's off-the-wall references to Pop culture of a by-gone age. From there, things only diversify and explode with every second. Only two tracks really sound as if they would have been at home on Blast Tyrant: the urgent, infectious Burning Beard and Mice And Gods, both of which deliver everything you could want from a Clutch song.
It's when you hit the keyboard-driven, Gospel-inspired sermon of Never Be Moved that you begin to realize there's a whole new Clutch at work here. Clutch has always been a band you could rely on for a smooth groove, but something about the addition of the keyboard sound really enhances the groovy end of their sound. From there we move on to the urgent, if heavily intellectual 10001110101, the almost all-instrumental groove of "Small Upsetters, and the wacky freak show of Circus Maximus. All very Clutch in some ways, but all powered by organ and stretching the band in new directions, and most importantly, all fantastic songs. Tripping the Alarm is a pretty standard Clutch jam, actually, surprisingly predictable on an album like this, but it's followed by the most bizarre stint of the entire record. 10,000 Witnesses begins as an easy-going and groovy jam fueled by the keyboard & drums, featuring Neil talking about ducking into a big red tent revival to get out of the heat. As the chorus kicks into an energetic, guitar-driven passage, preacher jumps up and declares, they say this year rock is comin'back, jack! This song is revelatory and as poignant as anything ever written in religious text.
One of the biggest treats on the record is Gravel Road, which begins as an homage to Delta Blues before transfiguring into a more traditional Rock song that, almost out of nowhere, becomes a blistering hot song in that traditional Clutch style. Gravel Road is the culmination of the experiments of Robot Hive / Exodus, combining countless styles with the expected Clutch sound. The record ends on another unexpected note, with a very respectful cover of Howlin' Wolf's Who's Been Talking?. This, my Clutch fanatics, is straight-up Blues. Like Blast Tyrant, this is the sound of a band having a damn good time doing what they do. It definitely leans closer to the Funk end of their sound, but while it may not retain the virulent assault of its predecessor, that manic energy is very much alive here.
The bottom line is this: Robot Hive / Exodus will leave you surprised, delighted and rockin' your ass off. It draws from Clutch's rich history while creating new routes on a road less traveled. And if its quick release is an indication that DRT has finally provided Clutch with a happy home to do their thing, I think we can look forward to quirky, inventive and amazing records from them for a while. It just doesn't get any better than that.