…But when you think about it, is there really such a thing as a bad day for free Clutch? The groovinest Marylanders have an exclusive non-album track called “Metroliner Special” from the Strange Cousins from the West sessions they’ve made available for free download at their website, Pro-Rock.com. I haven’t even had the chance to listen to it yet, but can only imagine it rules, being Clutch and all.

If you didn’t yet, check out The Obelisk‘s interview with guitarist Tim Sult here. Goes great with listening to free goo.

In case you missed the news, Strange Cousins from the West sold 13,000 copies its first week out, which is actually less than 2007’s From Beale Street to Oblivion, which debuted with 15,000. However, because since that time sales in general have continued to suck — plus that whole economy collapsing thing I keep hearing about — the 13,000 was enough to push Clutch into the Billboard Top 40 for the first time in their career at #38!

Congratulations to the band on this new milestone. If only Casey Kasem was still doing Casey’s Top 40 and could introduce the single, “50,000 Unstoppable Watts.” “Here’s a little song about anthrax, ham radio, and liquor…” Awesome.

Hard to believe, I know, but over the course of their nine studio offerings, Maryland groove gods Clutch have gone from Eastwest hardcore-tinged upstarts to established blues rockers putting out albums to ever-greater fanfare, most recently via their new self-run label, Weathermaker Music. Released just yesterday (July 14), Strange Cousins from the West is in many ways the archetypal Clutch record for 2009. It hones in on the direction the band has taken since 2004’s Blast Tyrant — the beginning of the DRT Entertainment era, which culminated with 2007’s From Beale Street to Oblivion — planting mature riff-led rock songs with varying degrees of blues elements deep in the cerebral cortex of the audience while vocal madman Neil Fallon weaves tales of sleestaks and time spent in county lockup. If you can get past “Let a Poor Man Be” without a new brain-tattoo, consult a physician.

The man behind some of the catchiest guitar lines in stoner rock history, guitarist Tim Sult, recently sat down for an in-person chat at the House of Blues in Atlantic City, NJ. Clutch was headlining a bill with Wino (featuring Clutch drummer J.P. Gaster) and Shadows Fall, who replaced a missing Monster Magnet. The interview took place deep in the bowels of the Showboat casino, in some back room where on another night high roller executives might mingle with bored-looking women half their age and the scruffy likes of yours truly most assuredly would not be allowed.

Sult (like bassist Dan Maines, to whom I spoke a few months back about Clutch side-project The Bakerton Group) was humble to the point of being puzzled why I’d want to talk to him, but though our discussion was relatively short, it nonetheless gave me something to look forward to in that night’s set. Hope you click that “Read more” doohickey and dig it as much as I did.

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Tack an hour onto the Parkway ride to Atlantic City because it was July 3 and you get me arriving at the Showboat Casino literally two minutes before my scheduled interview with Clutch guitarist Tim Sult (coming soon), rushing up the escalator to find the main room of the House of Blues and promptly sitting for 25 minutes while the band finished their sound check. When The Patient Mrs., who had dropped me off and gone to park the car, came into the building, told her via phone from the backstage kitchen to just cross the rope and walk in like she knew what she was doing. She did and when my interview was done, we met up and went to grab a slice of crappy boardwalk pizza before the show started.

Monster Magnet was supposed to play, which would have at least been convenient since I elected to stay home the rainy Saturday night in May when they hit Starland Ballroom in Sayreville, but for reasons unknown, it was not to be. Speculation, rumor and innuendo was all the explanation I was able to get out of anyone at the show. Massachusetts‘ Shadows Fall somehow became the fill-in for the middle slot, and their fit betwixt Clutch and opening trio Wino (featuring their namesake guitarist/vocalist and Clutch‘s J.P. Gaster on drums) was awkward to say the least, but they made a go of it and did their thing nonetheless. I was one of many late 20-somethings in the crowd who gave a perceptible “Oh yeah, this song,” when they played “Crushing Belial.” It had been a while since I heard that.

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A little while back, Maryland gods Clutch premiered the track “50,000 Unstoppable Watts” over at MetalSucks. Well, now, because they’re generous types, they’ve uploaded a fancy newfangled widget with new song “Abraham Lincoln,” “50,000 Unstoppable Watts” and some cool video footage of the band recording and doing their thing. Strange Cousins from the West is out July 7 on the band’s own Weathermaker Music. Widget autoplays after the jump.

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In case you missed it, our friendly friends over at MetalSucks posted the track “50,000 Unstoppable Watts” from the new Clutch album, Strange Cousins from the West. They are good souls indeed, and the song, unlike the material on the Joe Barresi-produced last album, From Beale Street to Oblivion, has guitars you can actually hear. Thanks, J. Robbins!

Now, I know you’re wondering what kind of exclusive Clutch goodies The Obelisk has to offer. It’s a valid concern. After the jump, you can see just how up to date and in the loop this site is when it comes to getting Clutch stuff that no one else can.

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July is hot as hell here in the valley. The moisture rolls in and settles and it feels like you could open your mouth to breathe (because naturally there’s so much pollen around that breathing through your nose is impossible) and drown in it. I’m usually found sitting in front of my window unit in my underwear chewing on ice. It and August are, without a doubt, my most miserable time of the year.

Here’s why I’m looking forward to it:

Veteran Maryland rock quartet CLUTCH are putting the finishing touches on their ninth studio album, titled Strange Cousins From the West. Produced by Clutch and J. Robbins at Magpie Cage Studios in Baltimore, the effort is the first Clutch original to be released on the band’s own Weathermaker Music, through RED Distribution. Label manager Jon Nardachone reports Strange Cousins… will be available both digitally and through retail on July 7th. He also reports the first single and video, “50,000 Unstoppable Watts“ will be officially released prior to Memorial Day weekend.”

Also of note is the Pappo’s Blues Band cover song “Algo Ha Cambiado,“ which vocalist Neil Fallon sings in Spanish. Pappo was a legendary Argentinian hard rock singer/guitarist throughout the 70’s and 80’s. The title Strange Cousins From the West was taken from a line in the song “Minotaur.“ Although the band has toured the world extensively over the past 2 years, and released multiple Clutch oriented projects, Strange Cousins… is the band’s first original studio work since March of 2007’s From Beale Street to Oblivion which featured the hit “Electric Worry.“

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Fucking a. Check it:

Maryland rockers Clutch have set Strange Cousins from the West as the title of their new album, due on July 7 via the group’s own label, Weathermaker Music. The CD was recorded at Magpie Cage studio in Baltimore, Maryland with producer J. Robbins (Jawbreaker) and will feature the following track listing:

01. Motherless Child
02. Struck Down
03. Unstoppable Watts
04. Abraham Lincoln
05. Metroliner Special
06. Minotaur
07. The Amazing Kreskin
08. Witchdoctor
09. Let a Poor Man Be
10. Freakonomics
11. Algo Ha Cambiado
12. Sleestak Lightning

Oh hell yes. Thanks Blabbermouth. If only every Wednesday began with such kickass news.

El Rojo is the second album from Clutch offshoot The Bakerton Group. Released through the band’s own Weathermaker Music label, it finds guitarist Tim Sult, bassist Dan Maines and drummer J.P. Gaster joined by Clutch vocalist Neil Fallon, completing the foursome and making it so that any time these dudes walk into a room, you could yell out, “Hey, it’s Tim, Dan, J.P. and Neil from –” and be right with either band name.

Comparing a Bakertons record to anything but the band’s alter ego would be pointless, but there are different influences at work in the two bands. El Rojo, like the self-titled which preceded it, boasts a jazzier tinge, hooked up fusion-style with Sult‘s guitar and the inimitable groove held down by Maines and Gaster. Mostly instrumental, even Fallon, whose guitar abilities audiences have watched grow at Clutch shows over the years, adds a unique personality to songs like “Peruvian Airspace” and “Last Orbit.” “Work ‘Em” even has some words, but not much. Don’t go into it thinking you’re getting a Clutch record.

Maines rang up the valley for the phoner below to discuss his bands’ ever-evolving sustainability — they tour constantly, are more popular than ever, have their own label and can now basically open for themselves — how their touring and writing processes work and even a bit about the new Clutch record. You can click the Maryland flag below to listen and read along after the jump if you so choose.

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