Essentially, Eyehategod make music to feel shit to, and I mean that in an endearing way. The punk-infected sludge tunes and burly southern swagger remain ever present. While the modern incarnation of Eyehategod lacks some of the disturbing ugliness and raw grit of earlier recordings, the blood, guts, anguish, hate and glory that’s defined their tough as nails and seemingly unkillable career is present in these newer tunes. A History of Nomadic Behavior continues the trend of dependency that has been a mainstay during their career, now stretching across multiple decades. Seven years later, Eyehategod return with the expected spiteful and bitter chip on their trademarked shoulders, sounding as pissed and deranged as ever, showing no signs of softening with age. The passage of time and age shall not weary Eyehategod. It was a solid return, staying true to the band’s gnarled roots. Built upon foundations of immense hardship, personal pain, resilience, and rocky turbulence, particularly those of troubled frontman Mike IX Williams, Eyehategod returned with a self-titled comeback album in 2014, their first LP since 2000’s Confederacy of Ruined Lives. Legendary sludge metallers Eyehategod is another high profile and revered NOLA band from the wrong side of the tracks, carving out a punishing career of ugly, hateful, feedback drenched sludge, including genre classics, Take as Needed for Pain and Dopesick. Whether it be heavyweights like Crowbar and Goatwhore, or quality lesser known acts like Flesh Parade, Mule Skinner and Agents of Oblivion, the scene’s downtrodden, hard luck traits, often laden with decaying sludge and doom influences, holds great appeal and emotional resonance. Since discovering trailblazing artists, and personal favorites, Acid Bath and Soilent Green, along with legendary supergroup Down, I’ve been an avid fan of many a NOLA band. The New Orleans, Louisiana metal scene holds a special place in my heart.
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