#Eyehategod 1993 plus
With some of the band’s most immediate (as well as provocatively titled) tracks, like Sister Fucker and White Nigger, plus tighter arrangements and a beefier, more muscular sound, Take as Needed for Pain seems like a step up from the band’s debut in all regards. Take as Needed for Pain (Century Media) 1993 The lyrics are in there, but figuring out which song they fit to is a whole other matter. Oh yeah, and if you want to follow what Mike is “singing”, good luck with that, as the band’s frontman has indicated in interviews that he took the approach early on to present the lyric sheets as a kind of surrealist collage. Grizzly highlights include the gnarled Shinobi and the appropriately titled Hostility Dose. Otherwise, the band wouldn’t deviate much from this style next time around. One feature that would be gone by the next record is some occasional lead guitar noodling (see the opening track Depress and Left to Starve). It’s bluesy and noisy, part Doom, part Hardcore Melvins are a clear reference point as is the grim, harshness of frequent touring partners of the time Buzzov*en. Showcasing the gritty, noisy, rotten EYEHATEGOD aesthetic that the band wouldn’t so much refine over the years as allow to fester the heavily downtuned guitars of Jimmy Bower and Marc Schultz, waves of distortion, Steve Dale’s nimble, doomy bass grooves, Joe LaCaze’s loose and agile drumming and Mike IX Williams’ rasping, strangled vocals (his distinctive ghuuahh may be almost as recognisable as Layne Staley’s yeaahhh, or Tom G Warrior’s ugghh) set the template the band has more or less stuck to over the following 30+ years. In The Name of Suffering (Century Media) 1992 Anyway, here’s a look at the band from record to record. I remember going to the bar with my friends before Napalm Death came on and we were all half deafened. The last gig I went to before the Covid apocalypse hit was EYEHATEGOD supporting Napalm Death in Prague. The briefest glimpse of their early album covers will make it clear before you’ve heard a note that what lies in store is some seriously ugly music, and they’re damn loud too.
In the end though I succumbed to the inevitable gruesome attraction and the band have become one of my absolute favourites. EYEHATEGOD however was just too abrasive for my ears at the time. Having first got into Pantera, I gradually found my way into Down and Crowbar and other related NOLA bands. My own exposure to EYEHATEGOD came around 2001. At the turn of the century it was looking like we wouldn’t see any new releases from the band, but the past seven years have seen two new albums and with the band’s first four studio albums being recently reissued on vinyl, this seemed like just the right time to pay homage to NOLA’s finest.
Since the band’s formation in the late 80s EYEHATEGOD have battled through death, addiction, organ failure, prison, a hurricane, and a revolving door of bass players, but like Tony ‘the Boogeyman’ Ferguson they just keep coming.
#Eyehategod 1993 full
What do you get if you take the riffs of Black Sabbath, the Hardcore aggression of Black Flag, mix in a relentless assault of guitar feedback, a dash of voodoo and a vocalist who sounds like he’s retching up shards of glass, vodka and a stomach full of herion, all under the glare of the New Orleans sun? Well, EYEHATEGOD obviously.
0 kommentar(er)
