From the bitter pill of opener “Built Beneath the Lies” to the hypnotic haze of closer “Every Thing, Every Day” it’s clear that that EYEHATEGOD hasn’t slowed or mellowed with time. “A History of Nomadic Behavior” finds the band, now slimmed to a four-piece rounded out by bassist Gary Mader and drummer Aaron Hill, leaner and meaner than ever road-hardened by recent tours with Black Label Society, Corrosion of Conformity and Napalm Death in the US and abroad. With a discography including sludge-punk mainstays like “In the Name of Suffering” (1990), “Take as Needed for Pain” (1993) “Dopesick” (1996) or 2014’s eponymously-titled LP, released in the US through Housecore Records, EHG laid the cracked foundation for their infamous and influential sound. That’s been the blueprint since guitarist Jimmy Bower (also of NOLA supergroup, Down) founded the band in 1988 with vocalist Mike IX Williams joining not long after. Anyone familiar with EHG’s story knows this is survivor’s music, a sound unto itself where Sabbathian riffs are meted out with a caustic anger that goes beyond punk. New Listing EyeHateGod Take As Needed For Pain - CD - Brand New Brand New 2 product ratings 56.00 vintage-planet-1 (1,134) 100 Buy It Now +6.00 shipping from Cyprus Sponsored FREAKHATE It Comes From The Grave CD Autopsy GG Allin Eyehategod Coffins NEW Brand New 9. That’s the sense of disenchantment and disease that lies the heart of their latest and sixth full-length album, “A History of Nomadic Behavior”. Since 1988, they’ve been a soundtrack for the troubled masses. The classic: Take As Needed For Pain (1993) Long a favourite of fans, critics and band members alike, 1993's Take As Needed For Pain sounds ramped up, kicked down and bugged out, towering over its predecessor in terms of sound and craft. New Orleans’ EYEHATEGOD is the snarling, bilious sound of dead-end America. Take as Needed for Pain has all of that, but it is also the first to really. Purchase includes CD booklet signed by the band. Every Eyehategod album shares a few main ingredients in common: the slow, sludgy guitars, the indecipherable ranting of vocalist Michael Williams, the moaning feedback that introduces nearly every song, and the relentlessly bitter, broken-down mood.
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