Album Assessment: EYEHATEGOD A Historical past of Nomadic Habits

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Eyehategod put Louisiana on the map because the mecca of sludge metallic with its model of apocalyptic blues, and stays pertinent to the scene, even within the wake of its numerous adjustments. This continued relevance is aided by the very fact Eyehategod by no means broke up since its inception in 1988—not when frontman Mike Williams spent 91 days in jail, or when founding drummer Joey LaCaze tragically handed away. What’s much more spectacular is how well-received that 2014 self-titled album was, contemplating the very fact it dropped nicely over a decade after Eyehategod’s first 4 albums. Seven years later finds A Historical past of Nomadic Habits able to additional a storied legacy of swampy, cynical violence.

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Whether or not it’s My Conflict-style punk or cruel heaviness, “Constructed Beneath the Lies” actually has every little thing an amazing Eyehategod tune wants. Williams’ iconic snarls drip with venom, injected into the veins of what develops right into a violent blues groove. Aaron Hill chops up his rock n roll rhythms to match the riffs of guitarist Jimmy Bower and bassist Gary Mader, giving “Faux What’s Yours” Black Sabbathy syncopation in distinction to lumbering doom metallic loss of life marches. Eyehategod’s steadiness of time-tested rock buildings and excessive music has turn into a misplaced artwork in quite a lot of trendy sludge metallic, which makes these singles fairly refreshing.

Williams’ lyrics transcend the same old “corruption sucks” mantra with an underpinning of rugged tiredness: “All streets, faux peace/ Daring face remorse/ Welfare, warfare/ Excessive danger reward.” Such traces make “Excessive Danger Set off” an apt summation for the 2021 frame of mind, nevertheless it’s “Circle of Nerves” that basically gives selection phrases on the world’s collective headspace: “Damaged by the separation disappointment/ I dwell in a gap within the floor.” Each songs characteristic spiraling, descending guitar licks and abusive rhythm breaks, glued collectively by a baneful outlook. On this means, Eyehategod stays the sonic equal of a rabid canine within the bowels of hell. There’s no room for pity or regret—solely misanthropy and riffs… and for essentially the most half, that works out high quality!

Picture credit score: Robb Duchemin

The inexplicable 11-bar construction of “The Outer Banks” belies Eyehategod’s free-flowing songwriting strategy. The odd timing isn’t noticeable except it is overtly wanted. These nasty chugs and triplet arpeggios simply really feel nice, whether or not it is typical or not. The band’s chemistry stays extremely potent throughout these slower, trudging numbers, as with the chaotic, propulsive “Three Black Eyes.” The latter has much less room to breathe, which does hinder its potential to face out from the heavy punk lexicon, however that doesn’t cease Eyehategod from channeling uncooked emotion when it counts essentially the most.

The pathos of Eyehategod is most noticeable within the howling, groaning vocals, which “Present Scenario” spotlights to a legitimately disconcerting impact. Half the tune’s runtime quantities to Williams wailing like a dying animal over punishing suggestions layers, including an actual scare issue to the band’s legendary riff mongering. Certainly, having fun with A Historical past of Nomadic Habits actually is determined by the listener’s enjoyment of mutated Louisiana grooves. On the very least, deeper cuts just like the sluggish, chugging “Anemic Robotic” scratch that itch to satisfaction, together with the gargantuan, dirge-like development of “The Day Felt Flawed.”

The grimacing weightiness of Eyehategod blends properly with its reckless hate, which does a exceptional job at making up for some lack of selection. Sadly, the album slows down on the first main curveball: the one-minute interlude “Smoker’s Place.” Positive, that smokey strolling bass line and straight head swing experience cymbal sample work fairly nicely, however the guitar lead has no time to develop earlier than it fades out with no connection to the subsequent minimize.

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“The Trial of Johnny Most cancers” gives simpler divergency, beginning with a chilling spoken-word pattern of a paranoid shut-in, however the method of primitive blues riffage and Williams rattling off anti-social platitudes wears out its welcome throughout four-and-a-half minutes. Closing monitor “Each Factor, Each Day” stays way more attention-grabbing, despite the fact that it is longer and ends with the identical pattern, and that success comes right down to well-developed songwriting.

The ultimate minimize ramps up the strain with delicate riff adjustments, because the lyrics progress from describing societal distress (“Stand up and go to work/ Go to highschool/ On a regular basis”) to a violent psychosis (Kill your boss/ The whole lot, On a regular basis”). The best way Eyehategod connects relatable drudgery to unthinkable actions is haunting and made transfixing by the slow-burning association. It’s this anti-humanitarian nucleus that retains Eyehategod alive within the sludge metallic pantheon.

A Historical past of Nomadic Habits packs a punch to reckon with the sonic slugfests it follows up. Whereas taking extra time to construct upon sure concepts and diversify the songwriting would not’ve damage, it is nice to listen to a pivotal band like Eyehategod making related statements and dealing harm with the style they helped create.