Review CLAWFINGER “Before We All Die”

Hailing from Sweden, Clawfinger are widely regarded as one of the true greats of 1990s crossover. Their first two albums, in particular, were milestone releases that left a lasting mark on the entire genre. However, as the new millennium began, interest in the band gradually faded, eventually leading to their break-up in 2013. However, it didn’t take long for the band to reunite and release a handful of singles. What was still missing was a full studio album – and that gap is finally being filled.

A few months ago, Clawfinger announced “Before We All Die”, and anticipation quickly grew as fans wondered what to expect from these Swedish crossover veterans. The lead single, “Scum”, was the first track to be revealed and immediately sparked curiosity. Opening the album, “Scum” encapsulates everything that Clawfinger stands for. Even a glance at the artwork makes it clear that the band have lost none of their political and social edge. The red baseball cap and the use of samples send a clear message about who the song is aimed at. Fueled by pulsating energy and reminiscent of Ministry, the track strongly connects to Clawfinger’s early days. Frontman Zak Tell and his bandmates sound furious, and “Scum” leaves no doubt about it.

A similar attitude drives “Tear You Down”, another fierce statement against corrupt politicians and right-wing propaganda. These songs clearly define the lyrical core of “Before We All Die”. Clawfinger pull no punches as they address the chaos of modern times. This includes criticism of social media culture, as exemplified by “Big Brother”, which targets the obsession with self-promotion and relentless pursuit of fame.

As mentioned, musically, the album draws heavily from the band’s early releases. To be honest, it took a few listens before the record fully revealed its impact. Crushing riffs and rap elements are blended together with confidence and precision. While most of the tracks are thunderous crossover anthems, the album also features “A Perfect Day”, a stripped-down, calmer moment built primarily around Tell’s vocals. This serves as a welcome breather midway through the record. The sense of rebellion quickly returns with “Going Down (Like Titanic)”, which perfectly captures Clawfinger’s revolutionary spirit.

“Fucking Disgrace” is one of the album’s most dynamic tracks, shifting between restrained passages and explosive, riff-driven sections. “Kill the Dream” follows, offering a dark atmosphere and skilfully bridging introspective moments with an aggressive, heavy chorus.

“Before We All Die” marks the powerful return of one of crossover’s most influential bands. Clawfinger are back at full strength, and the turmoil of the current era seems to fuel the anger that finds an outlet on this album. There’s a noticeable old-school vibe throughout, with more than a few moments that will remind listeners of the 90s. Nevertheless, the album never feels dated; the blend of sound and lyrics fits perfectly into the present day.