A History of Nomadic Behavior

Eyehategod, the godfathers of sludge and undisputed kings of the NOLA metal scene, return with their 1st album featuring new drummer, Aaron Hill. This is also their first offering via metal giants Century Media Records. While I was anticipating this record marginally, it wasn't until recently that I checked it out and it is a major snoozefest. The saying is true when signing to Century Media, and that is Century Media is where bands go to die. Eyehategod has certainly succumbed to this saying, as this record pales in comparison to all their previous efforts, and does so quite starkly.

To start things off, what is up with the overall sound on this record? It certainly sounds like Eyehategod, but a weaker, tepid, and tamer version of them. While the band's tone has not changed, the production on this record would make it appear that they have drastically altered their trademark sound because it sounds like the balls are missing. Eyehategod's previous albums evoke a certain feel and atmosphere, both of which are absent here. None of these songs pack any punch and they are just as forgettable. It sounds like a smattering of riffs that kind of go together, but with no hooks, no interesting leads, and no memorable solos whatsoever. Albeit some riffs do stand out by themselves, but then proceed to go nowhere interesting and fall flat. This happens at multiple points across the album and I'm surprised that I was able to finish it. Although, I cannot tell you about anything memorable beyond the fact that I pressed the play button...

Another aspect of this record that I came to loathe quickly is Mike Williams vocals and delivery. He is not shouting, screaming, or making any attempts at singing. Rather, his voice is too high in the mix and he just seems to be rambling about bullshit for the duration of the album. If he does manage a scream or a yell, it sounds just as toothless, tepid, and tame as the overall sound of the albums production. Again, Eyehategod albums of yesteryear evoke a feeling and atmosphere that is all but absent throughout and Mike's "ramblings" certainly help to take away from any perceived punch these songs may have had. On the note of performances on this album, I do not like Aaron Hill's drumming. At all. Sure, the man can hold down the throne when playing out live with the band and he can do justice to parts LaCaze wrote on previous albums, but when left to his own devices and songwriting, he just seems to be going through the motions of a Sludge/doom drummer. Not only do I feel he doesn't hit as hard as LaCaze did, but I cannot remember a memorable section throughout where the drum work shines through. Filling the shoes of Joe LaCaze was going to be a tall order for any newcomer, but I just don't feel Aaron is the guy and his work on this album only reinforces my belief that he just doesn't make the cut.

Overall, I was greatly disappointed by the new Eyehategod record. I cannot understand how Century Media turns so many bands into shit because it seems that lots of bands have changed dramatically after signing onto the roster. Granted, that is a rhetorical question and I can certainly see why a band would bow to certain demands made by a label of this size. However, completely sacrificing who you are in order to join up just makes no sense. Eyehategod became the sludge kings they are because of who they are (or were, in this case), and I feel this is not an accurate representation of one of my all-time favorite sludge/doom bands. To be quite frank, avoid this album like the plague, especially if you are new to the band. Any of their previous albums offer up a better, more accurate version of what Eyehategod is, and stands for, and I highly recommend any LP of theirs that is not A History of Nomadic Behavior.

The album has some heavy riffs with touches that could be considered something "unusual" or "experimental" for the genre in which they navigate, which is not something alien to the band, they have always been characterized by trying to create music out ot any comfort zone. With structures that start from a rock and blues base, always balancing with scientific precision, the brutality of metal with the calmest beat of the other two genres.

Although unfortunately I must say that, in this work, that adventurous spirit did not play in his favor, because for most of the time, the riffs are not very inspiring, and neither are they catchy enough to become transcendent or memorable.

Mike's voice is as good as ever, his main strength is still the poisonous feeling that he injects into each growl. He puts a lot of power, emphasis and accentuates the important parts of his message very well. The lyrics are good, although the truth is nothing really remarkable. And although in this work they leave their already classic battle cry against the corruption of the system and society in general, while they go into issues such as the mood and mental state of society in these times, I think that this variant is not enough to say that the work in lyrics is something to look to much into.

The bass has an excellent, solid and dominant sound. It creates a suffocating haze around it, helping the work to have a certain smoky touch. The swampy rhythm remains a trademark of its sound with the ideal dose of fuzz and speed. The drumming is fully compliant, providing a solid rhythm that is spiced up with delicious intermittences of speed and violence.

What really bothered me about this album is that at times it sounds too predictable and monotonous. I do not tolerate an album that does not make me get excited. In my opinion, the hand of Century media is already noticeable in the sound, which I believe is not playing in favor of the band, because I think their sound in this work lacks edge. A shame, because their last album was excellent, and it seemed that despite the time between releases, that upward inertia in quality would continue. Let's hope this is just a period in which their quality has diminished due to the adaptation process to its new label. Only time will tell.