Clawfinger - Before We All Die (2026) Hi-Res

After 18 years without an album, crossover pioneers Clawfinger are back with a vengeance. "Before We All Die," the album's title, which sounds like something out of the apocalypse or a bucket list, is distributed by Perception and is loud, angry, darkly humorous, and above all, brutally honest.

But what can you expect musically from a band that seemingly achieved everything in the '90s after such a long hiatus? Well, the opener "Scum" is a damn banger, hurtling full throttle into the Swedes' bold new album. With its driving rhythms, it's a wild, political shitstorm. The equally hard-hitting and heavy follow-up track, "Ball & Chain," takes a dark turn with pounding, distorted guitars and fearful vocals. Finally, "Tear You Down" delves into the world of nu-metal, revealing the quintet's darker side with ironic lyrics and a melodic chorus.


But what can you expect musically from a band that achieved everything in the world in the '90s? Well, the opener "Scum" is a damn banger, hurtling full throttle into the Swedes' bold new album. After that, things take a less brutal turn. The cool, mechanized atmosphere of "Big Brother" satirizes the obsession with artificial fame and a false reality. Somewhat fiery rhythms characterize the sound of "Linked Together," while "A Perfect Day," with its progressive guitar melodies, lo-fi beats, and bright instrumental layers, brings a glimmer of hope to the darkness and creates a drastic change in style. The band's typical comedic touch is also present on "Before We All Die," as Clawfinger don't take themselves too seriously, even in their later years.

The sheer absurdity of "Going Down (Like Titanic)," a genre-crossing fusion with a dark but catchy chorus, encapsulates the album's cynical undertone. The bluesy "A Fucking Disgrace" reveals further exciting genre influences and is a personal track that reflects on stress and all kinds of burdens. “Environmental Patients” carries a groovy, dark undertone and conveys a message about humanity’s failure in dealing with our planet. Zak Tell & Co. close the 12-song album with the merciless title track, “Before We All Die.”

Personally, only about half of the tracks appeal to me, but with repeated listens, even the less compelling songs reveal further highlights. From environmental destruction and political hypocrisy to personal disillusionment and societal collapse, Clawfinger’s comeback album, “Before We All Die,” clearly continues the band’s tradition while also introducing many new elements.