'Fucking ugly. Two great words to describe the Eyehategod debut. And Hillary Clinton. These guys purposely took all the speed and catchiness right out of metal and drained it like gutted deer blood right down into the dirt. Imagine Black Sabbath, heroined out of their gourds and lost in the swamp with minimal recording equipment and a dying lizard instead of Ozzy on vocals. Have you imagined it yet? Good.
Now imagine that lizard has a great pair of tits. Forget it, don’t bother.
So this was my first journey into the Eyehatecod camp, after seeming a particularly great live show (they opened for Crisis at CBGB’s, just to carbon date the whole experience). Mike came out in his underwear and stumbled around a little, disappeared, and then returned fully dressed with the rest of the band. They proceeded to polish off quite a bit of Jack Daniels and kick quite a bit of ass, so a CD purchase seemed a logical choice.
And boy, was I unprepared for what awaited me. This music is made for people who hate themselves, hate everyone else, and love only drugs and taking big stinky dumps. This is the soundtrack to giving yourself an enema with a piece of PVC pipe and a balloon. Each riff struggles forth from the primordial ooze to be born, and commands you to slowly bang your head. The drums are nothing flashy, but compliment the sludge perfectly, and sound like they were recorded at the bottom of a pool. The bass is strong, and certainly adds a lot to the bowel-scraping heaviness that is “In the name of suffering.”
And the vocals…my lord…the vocals. A thin, painful rasp is broken up intermittently by some shouting and some moaning. Very little of it can be made out. All of it sounds intoxicated, wasted, thrashed, and belligerent. Like a mean drunk who listens to too much metal. Is there such a thing as listening to too much metal? I guess not. Are these vocals GOOD? Who can say? Technically they are terrible, but for EHG they are perfect.
Actually, that sums up the whole album pretty well. Is it technically good, well-played, well-recorded, melodic metal? NO. But it wasn’t meant to be. Nasty, messy, and disgusting was their goal. And many a band has emulated them since – Iron Monkey, Bongzilla, and Grief come to mind. In fact, this is almost some class of 666 material for their influence alone. So check in out if you’re into being roughed up and abused deep in the bayou. Highlights include the fantastic “Depress,” “Shinobi,” the hilarious sampled lunatic speech in “Godsong,” and “Hit a girl.” You just might like it. But be warned – this ain’t your grandpappy’s happy music, this shit can safely be awarded the overused adjective BRUTAL. Oh yeah, and I’ve gotta mention the booklet and liner notes. Don’t download this, because if you download metal you’re a fuck, and because you’ll miss out on a bunch of stream-of-consciousness stuff that may or may not be lyrics to the actual songs, plus some cut and paste pictures of odd medical procedures, ugly naked people, a tree with a dick, and other such nonsense. Truly wonderful.'
'Eyehategod are seen as godfathers and the masters of the sludge metal genre for a reason. Each one of their albums is a brutal slab of sludgy, downtuned riffs that would in some cases make Iommi jealous. They helped kick start the whole sludge movement in New Orleans, and furthermore set the basis of many sludge albums to follow. ‘Take as Needed for Pain’ is the second release from this band, and is equal to and in some cases surpasses what we saw on ‘In the Name of Suffering’.
The best way to describe the bands sound is a drugged up, alcohol soaked, punishing slab of Sludge Metal. Each track on here is relentless in its heaviness. The riffing pummels the listener to the ground while the tortured screams of Michael Williams sound like a desperate, barely alive drug addict begging for another high. The drumming is loose and barely keeps the band together, while bass plods along, each note hitting your head with intensity.
On the album we have the lengthy, lethargic seven minute tracks which continually bludgeoning the listener, only stopping for some guitar noises here and there. Then there are the shorter, faster paced tracks such as Sister Fucker, which although being faster paced are still heavier than perhaps nearly every other doom band out there. Then there are the songs with drug influenced lyrical themes such as ‘Crimes Against Skin’, which outdoes many Stoner Rock bands in its downtuned simplicity and tortured lyrical delivery. The only down point is the seven minute track ‘Disturbance’, which although providing a break from the real songs, gets boring quickly due to it consisting of random noises.
To sum it up, ‘Take as Needed for Pain’ is quite simply a sludge metal masterpiece. Eyehategod have a formula and they stick with it, and with albums like these it is no wonder they are renowned as among the best in the sludge genre.'
Summary:A festering pinnacle of rage for Sludge and extreme music in general. Arguably EHG's best album to date and a classic of the genre.
'Eyehategod is one of the bands whose sincerity is not doubted. Vocalist Mike Williams life has been through a ***storm of bad luck (E.g. parents died at early age) and bad decisions (drug addiction). Or at least that is the picture we get from the view of EHG. “Dopesick” is one of the finest examples of pure hatred and misery expressed in music. It’s one of, if not the best sludge albums created. If some southern styled detuned blues mixed with bursts of hardcore fury sounds nice to you, this is your album.
The “Sabbath crossed with Black Flag” analogy is the most popular when trying to explain EGH’s sound and for good reason. It still doesn’t do the band justice because they really have a more unique sound than that. “Dopesick” does have more of a hardcore feel than previous records and it may contain some of their most energetic tracks. Beginning with “My Name is God(I Hate You)”, we are greeted with feedback and the boiling rage of Williams screaming as he breaks a bottle against the ground. From that point the feedback rises and the bass line begins to creep in. It’s one ***ing hell of an opener, especially after reading about the studio experience. Supposedly Williams in a drunken stupor, ripped open his hand on the broken glass and smeared “Hell” across the glass in the recording studio. You can’t get much more sincere than that.
“Dog’s Holy Life” and “Peace Thru War (Thru Peace and War)” are some of the more hardcore paced tracks that bring a nice shift from the usual swamp creature crawls. Speaking of vile crawls, “Zero Nowhere” is probably EHG’s most unforgettable song. The sub harmonics are unreal and that slow cooking riff can really ignite the fire in your belly, like a shot of whiskey. “Methamphetamine” has the same effect, especially just as the vocals kick in over the distortion ridden blues licks. It seems kind of weird for music that is so infused with genuine hatred for nearly everything to be so enjoyable to listen to.
I’m sure it’s the catharsis of it; I can’t imagine a better way to release such raw energy. This album is a pinnacle in the history of Sludge and extreme music in general. It completely captures human negativity and frustration with all the power this art form can allow. It can be hard to choose a favorite between EHG’s albums but I would put this at number one. Anyone interested in this style needs “Dopesick”.'
Summary:The 4th album from the 5-piece Lousiana outfit delivers.
'Eyehategod is somewhat hard to dissect when it comes to describing their music. A loose interpretation of it might be Sludge Metal with some Southern Rock thrown into the mix. But in a genre that bends rules and defies labels, anything goes. This band is the absolute epitome of Sludge Metal. In every way shape and form, this is what the genre should be. Dark, heavy, slow, and effective. The 4th album from the 5-piece Louisiana outfit delivers.
Revelation/Revolution is the strong opener. It probably the heaviest, sludgiest track on the album. Its slow detuned riffs are deeply rooted in their earlier releases. It absolutely showcases what this band is all about. The thick, muffled guitars are achieve a tone so perfect, so distorted, that it can only be summed up with one adjective: beastly. A strangely clean bass tone adheres the wall of sound with a tight, industrial strength groove. While somewhat simple in technical value, it is all is needed, and doesn’t sound forced or overly flashy. Though hidden behind behemoths of guitars, the bass of Eyehategod’s music isn’t left in a corner to rot. On the contrary, it is an extremely vital and utilized tool in the muddy goop that is Eyehategod.
As previously mentioned, this band is from Louisiana, and are not afraid to show it. 99 Miles Of Bad Road and Blood Money show the tattered confederate flag on EHG’s puke-stained shirts. While the music does have a little more than pinch of Southern Rock mixed in with the overall slimy Sludge sound, it isn’t overdone, nor does it sound out of place. A perfect balance of Southern styled rock and pounding Sludge is formed, and it is quite gripping. Once you start the album, it will be difficult to press the pause button. The engaging sound is part of what makes Confederacy Of Ruined Lives such an immense album to tear through.
The other instruments on this album are nothing to sneeze at. The drumming is precise and on beat, with varying tempos and techniques throughout the album. Like the songs themselves, the beats are generally slow and heavy, with a few occasional passages of speed that are few and between. Mike Williams’s soaring shrieks wouldn’t be out of place on a black metal demo, but sound right at home where they are. Droning deep chords and occasional speedy pull-offs (that Southern Rock influence) combined with shrill feedback and off beat scales sum up the guitar passages quite nicely. Make no mistake, these guys are not slackers when it comes to their music, no matter how slow and seemingly easy their riffs sound (see: Corruption Scheme)
To some fans of Sludge who might be bothered by the Southern Rock sound on the album, do not fear. Inferior And Full Of Anxiety, Revelation/Revolution, and Jackass In The Will Of God all include some of the heaviest, most dingy sounding riffs to ever grace my ears. This is most defiantly Sludge, folks. No way around it, Eyehategod is an incredible Sludge Metal band. My end thought on this album is this: it is a powerful, dark, dank album. Anyone who is remotely into Sludge should absolutely check it out, along with Take As Needed For Pain, both of which ought to go down in history as total classics in the genre. This album is a great place to start if you want to start getting into slower, more absorbent music, or if you just want a good ol’ fun album to listen to, after all, that is what Eyehategod set out to accomplish with each an every one of their albums.
So all of you who enjoy this music, make sure to check Eyehategod’s entire catalog out. It is certainly worth your time (and possibly money) to do so.'
Sludgy mess, but so true to the EHG sound Vocals are strong Bass is obvious Diverse in its own special Southern way
.001% A few songs aren’t quite as powerful as others
Blood Money Revelation/Revolution 99 Miles Of Bad Road Inferior And Full Of Anxiety
'Eyehategod’s new self-titled record is one born out of tribulation. Pulling it together to pen a new record 14 years after the release of its predecessor Confederacy of Ruined Lives, the incumbent kings of drug-addled sludge metal miserablism have gone through a litany of troubles, including poverty, drug withdrawal, prison time and an apocalyptic natural disaster. After listening to the punkified scorcher of an opening track “Agitation! Propaganda!,” you would never have guessed.
You might find it strange to see a word like “fun” anywhere near the vicinity of this New Orleans quintet, but Eyehategod’s long-awaited self-titled record is certainly enlivened and rejuvenated. They are no less dour than on previous outings, but now they spew their piss-and-vinegar nihilism with health, vigor and confidence, and it isn’t just due to Billy Anderson’s thick, beefy production. The boys are back in town, and they’ve got some rock-solid songs and a rollicking, airtight performance to show for it.
Eyehategod has traditionally opted to open their records with some of their sloggiest material – take “Blank” or “My Name is God (I Hate You),” for example – but “Agitation! Propaganda!” earns its exclamation points by cutting right through the hazy murk with a furious dose of sludgy hardcore punk. It’s perhaps the most immediate moment of the band’s career – not a note is wasted and neither a moment hesitated in its two and a half minutes.
This newfound immediacy even characterizes slower cuts like “Parish Motel Sickness” and “Robitussin and Rejection.” They trudge to be sure, but lost is the sloppy sickliness of their classic material, supplanting it with a tight, rehearsed performance. “Robitussin…” flaunts their trademark knotted chromatic riffs, but it’s hardly a messy stupor. Tighter still are cuts such as “Worthless Rescue” and “Nobody Told Me,” with the latter coming so close to straight-up blues rock at about 2:24 that one might momentarily forget that this is, in fact, the same five guys who penned some of the most harrowing expressions of real-life pain ever to come out of the extreme metal underground.
As if making up for the band’s unusual exuberancy, frontman Mike Williams waxes vitriolic with his inimitable snarl, sounding far less haggard and breathless than on previous records. The lyrics are predictably swallowed up in the chaos, but on “Flags and Cities Bound,” we are treated to perhaps Eyehategod’s only moment of lyrical intelligibility in the form of a disorienting spoken-word piece. “In this place of probation,” Williams seethes, “reading the label of a lead-based paint remover is considered highbrow literature.” His blunt gutter poetry – evidently culled from experience – careens into the obtuse later on, but the imagery is concrete, evocative and disturbing when draped against the backdrop of Eyehategod’s classic wailing amp feedback, and certainly a breath of fresh air when paired against the cookie-cutter throwaways that metal lyrics often are.
All of this praise serves greatly to underline the tragedy of Joey LaCaze’s passing late last year. LaCaze’s was always Eyehategod’s beating heart, and at no point in their career is this more apparent than on this record. His tight, arhythmic swing absolutely dominates the groovier tracks like the aforementioned “Quitter”s Offensive” and particularly the rock-solid “Worthless Rescue,” wrangling in the rest of the band without resorting to obnoxious flashiness. LaCaze left behind his proudest moment on this record, and his clear enthusiasm behind the kit makes the band’s comeback bittersweet.
Nonetheless, Eyehategod is hardly the gamechanger that Take As Needed For Pain or Dopesick were, and there certainly aren’t songs quite on par with the likes of “Dixie Whiskey” and “Southern Discomfort.” Instead, Eyehategod is an earnest record by a band evidently comfortable in its own skin. The band was not without its scars even without the passing of LaCaze, but this record is proof enough that tribulation only makes Eyehategod stronger.'
1. Depress (04:58) 2. Man Is Too Ignorant to Exist (02:37) 3. Shinobi (05:15) 4. Pigs (02:59) 5. Run It Into the Ground (03:11) 6. Godsong (02:44) 7. Children of God (03:10) 8. Left to Starve (03:09) 9. Hostility Dose (02:43) 10. Hit a Girl (04:19) 11. Left to Starve [Demo] (Bonus) (04:06) 12. Hit a Girl [Demo] (Bonus) (04:12) 13. Depress [Demo] (Bonus) (07:34) 14. Children of God [Demo] (Bonus) (03:46)
1. Blank (07:06) 2. Sisterfucker (Part I) (02:09) 3. Shoplift (03:14) 4. White Nigger (03:54) 5. 30$ Bag (02:47) 6. Disturbance (07:01) 7. Take as Needed for Pain (06:07) 8. Sisterfucker (Part II) (02:37) 9. Crimes Against Skin (06:46) 10. Kill Your Boss (04:13) 11. Who Gave Her the Roses (01:59) 12. Laugh It Off (01:35) 13. Ruptured Heart Theory (Bonus) (03:34) 14. Story of the Eye (Bonus) (02:30) 15. Blank / Shoplift (Bonus) (03:58) 16. Southern Discomfort (Bonus) (04:25) 17. Serving Time in the Middle of Nowhere (Bonus) (03:20) 18. Lack of Almost Everything (Bonus) (02:28)
1. My Name Is God (I Hate You) (05:21) 2. Dogs Holy Life (01:10) 3. Masters of Legalized Confusion (03:57) 4. Dixie Whiskey (02:55) 5. Ruptured Heart Theory (04:43) 6. Non Conductive Negative Reasoning (01:06) 7. Lack of Almost Everything (02:48) 8. Zero Nowhere (04:22) 9. Methamphetamine (01:59) 10. Peace Thru War (Thru Peace and War) (01:47) 11. Broken Down But Not Locked Up (03:47) 12. Anxiety Hangover (04:55) 13. Peace Thru War (Thru Peace and War) [Alt. version] (Bonus) (01:48) 14. Depress [Alt. version] (Bonus) (04:06) 15. Dopesick Jam (Bonus) (16:02)
1. Revelation/Revolution (04:18) 2. Blood Money (04:11) 3. Jack Ass in the Will of God (02:46) 4. Self Medication Blues (04:45) 5. The Concussion Machine Process (02:19) 6. Inferior and Full of Anxiety (03:18) 7. .001% (06:23) 8. 99 Miles of Bad Road (03:48) 9. Last Year (She Wanted a Doll House) (04:53) 10. Corruption Scheme (03:34)
1. Agitation! Propaganda! (02:24) 2. Trying to Crack the Hard Dollar (03:02) 3. Parish Motel Sickness (03:42) 4. Quitter's Offensive (03:45) 5. Nobody Told Me (03:39) 6. Worthless Rescue (03:57) 7. Framed to the Wall (03:28) 8. Robitussin and Rejection (03:38) 9. Flags and Cities Bound (07:11) 10. Medicine Noose (03:23) 11. The Age of Bootcamp (05:11)