After a long fourteen-year wait for fans, New Orleans' doom metal and sludgy bluescore five-piece Eyehategod have finally released a brand new self-titled full-length album. With eleven fresh tracks arranged and financed by the band together with Housecore Records, this album's dark, chaotic, misanthropic, noise-laden material proves unequivocally that Eyehategod aren't simply back; they never left. It also shows that they are decidedly important to today's heavy music in the way that Robert Johnson was to the blues, Doc Boggs was to old-timey Appalachian folk, early Sabbath was to rock, Black Flag was to punk, and so on. In fact, this all-new collection of songs is arguably Eyehategod's best since their 1993 album Take as Needed for Pain, which was both a band and fan favorite, and continues to be so.
Eyehategod's self-titled release opens with the filthy chords, wild feedback and pummeling drums of "Agitation! Propaganda!" That, along with Mike IX Williams' barbed, throat-bleeding vocals, this song is somewhat akin to the metal and gutter punk hybrids scattered throughout Eyehategod's catalog of releases, like "Peace Thru War (Thru Peace and War)" and "Lack of Almost Everything" off of the band's 1996 album Dopesick, and "Bland" off of Take as Needed for Pain, and "Depress" and "Run It into the Ground" off their 1992 debut full-length In the Name of Suffering. Following "Agitation! Propaganda!" is "Trying to Crack the Hard Dollar," in which they return to the bluesy Sabbath-esque riffs and beats that have become so much a part of their core sound. Other standouts on the album are the metal-as-hell "Parish Hotel Sickness," the fast and heavy "Framed to the Wall," the seven-minute waves of feedback and drawn-out chords and fierce drums and half spoken-word, half vocal-vomit of "Flags and Cities Bound," the strung-out desperation and confusion of "Medicine Noose," and classic EHG styling of the closing track "The Age of Bootcamp."
The self-titled album by these sons of NOLA was officially released in North America on May 27th, 2014 by Housecore Records, in Europe, Australia and New Zealand on May 26th by Century Media, and in Japan on May 21st by Daymare. Eyehategod have also just kicked off a month-long tour in support of the new album. You can view the dates, cities and venues here.