Eyehategod 1993 skin#

Eyehategod 1993 skin#

Crimes Against Skin is another forgotten scorcher that would've more loved if it wasn’t on such a charged record. Mark Schultz and Joey LaCaze (RIP) just fucking pound your eardrums into a smush. Sisterfucker part 2 has this killer scummy bass intro that sets a slower, more harrowing tempo than the first part. It's another one they still include in their live sets. Eyehategod shines best through this contradiction between hard-living and and educated musical influences and they rarely do it quite as well as they do it on this song. It sounds like a homeless man just wandered in the room while the band played and they just taped whatever he shouted into the mic. The insanely groovy, grunge influenced riffs clash monstrously with Mike Williams' psychotic performance.

The title song is another of my favourites on the record. I love this song to death for its atmospheric quality and I would love Eyehategod to have embraces electronic influences in their career. Looping samples of old medical tapes play over one another for an excruciating seven minutes. It's industrial music with elements of power electronics. It's been low-key one of my obsessions on Take As Needed for Pain for two reasons: a) it's fucking great b) it's not a metal song. It's theoretically perhaps the slugdiest song on the record, but it's also also too shambolic to stand out. 30$ Bag has these bipolar shifts in tempo that make it feel dissonant and unpredictable. It's not that they’re complex or progressive, but they have an understanding of texture and density that few guitarists have and Eyehategod's sound is all about that: filth and pain. White Neighbor (who used to go by another name, I know!) is another absolute riff fest from Jimmy Bower and Brian Patton. It feels louder and more expansive than most songs on the record. Shoplift deviates from the downbeat hardcore punk and southern rock influences a little bit and integrates some powerful grunge riffs to Eyehategod's already rich sound.

That barely qualifies as singing, but it has an intensity and a texture to it that no other vocalist really has.

The follow-up Sisterfucker part 1 is a shorter, more in-your-face blues metal anthem carried by an overwhelmingly fuzzy and filthy guitar riff and Mike Williams' tortured rasps. It's vile, shambolic and oozes with despair like an untreated wound. Blank, the opener to Take As Needed for Pain, explodes right off the gates like a hardcore punk song before breaking down into a groovy, bluesy and feedback soaked seven minutes descent into incoherent madness. Filthy and downbeat music with blues southern rock influences echoing a life of bad decisions. They’ also given the genre an official aesthetic. Today, we're going down the Take As Needed for Pain rabbit hole and examine how it defined a genre.Įyehategod did not invent sludge metal, but they gave it a final form on Take As Needed for Pain. Although they’ve been active for close to thirty-five years, their 1993 sophomore effort Take As Needed for Pain and, to a lesser extent, the follow-up Dopesick are what immediately come to everyone's mind when they're being discussed. New Orleans sludge metal legends Eyehategod are primarily known for one record. A lot of bands are known for only one song.