Kingbanana Presents
EYEHATEGOD
with
Goatwhore, Cancer Christ
Dante's
350 West Burnside Street, Portland, OR
Tue
September 12, 2023
Doors: 8:00 pm / SHOW: 8:30 pm PDT
Doors: 8:00 pm / SHOW: 8:30 pm PDT
Ages 21 and Up
$30.00
Back in 2017, all that veteran hardcore/doom-slingers Eyehategod wanted to do was tour, and for about three years that’s all they did. They even back-burnered plans to finish the follow-up to 2014’s incendiary Eyehategod album in order to storm stages across the U.S. and play exotic nations they’d never visited such as Indonesia, South Korea, Vietnam, Thailand, Israel, Tasmania and more. They played and toured with some of their favorite bands, such as OFF!, Negative Approach, Sheer Terror, Corrosion of Conformity, AntiSeen and the Obsessed.
“To be able to play with these bands and have them as our peers is really great. We were touring with these people and exchanging war stories, and at the same time I knew they supported and dug what we were doing.”Eyehategod’s new album, A History of Nomadic Behavior, is a reflection of the chaos and euphoria the band experienced over the past three years of touring crossed with the past two years of political turmoil, pandemic terror and remorseless hypocrisy.
“We’re not a political band, but it was hard not to be affected by the news from the past year,” Williams says. “During this recording, I thought a lot about how stupid humanity has become and how America is now completely divided with these people who don’t believe in science and blindly follow liars and nonsensical ideologies. Some of those feelings maybe found their way into these songs, but it is mostly subliminal.”
Like Eyehategod’s best albums, including 1993’s Take as Needed For Pain, 1996’s Dopesick and 2014’s comeback Eyehategod, the band’s first new full-length in seven years, A History of Nomadic Behavior, is a blowtorch-distortion and blues-saturated combination of mostly mid-paced songs pierced with scarring pain and disconsolate fury.
The first release from the album, “High Risk Trigger,” encapsulates the filth and damaged beauty of Eyehategod. The song starts with a chugging groove reminiscent of SST-era Soundgarden before erupting into a doomy minor pentatonic passage that wouldn’t sound out of place on an ‘80s Saint Vitus album. Lyrically, the song -- like most Eyehategod ditties – is cryptic and abstract, but it touches on the all-pervasive fears bred by an invisible germ storm sweeping through the nation and a society
sickened by police brutality. (“Infection is the way, disruptive crowd takes aim/ Burn down the rail yard house, destroy the U.S.A.”).
“These songs don’t tell any stories, but there are a few themes in there that people can figure out if they listen closely,” Williams says. “The riots and the elections and COVID were all happening and all that was in the back of my mind when I did the vocals for the record.”
Another highlight of A History of Nomadic Behavior is the jarring “Fake What’s Yours,” which begins with a low-frequency buzz before shifting into an off-kilter start-stop riff that leads into the spoken line, “Silence was their trademark/won’t say it, never talk.”
“To be able to play with these bands and have them as our peers is really great. We were touring with these people and exchanging war stories, and at the same time I knew they supported and dug what we were doing.”Eyehategod’s new album, A History of Nomadic Behavior, is a reflection of the chaos and euphoria the band experienced over the past three years of touring crossed with the past two years of political turmoil, pandemic terror and remorseless hypocrisy.
“We’re not a political band, but it was hard not to be affected by the news from the past year,” Williams says. “During this recording, I thought a lot about how stupid humanity has become and how America is now completely divided with these people who don’t believe in science and blindly follow liars and nonsensical ideologies. Some of those feelings maybe found their way into these songs, but it is mostly subliminal.”
Like Eyehategod’s best albums, including 1993’s Take as Needed For Pain, 1996’s Dopesick and 2014’s comeback Eyehategod, the band’s first new full-length in seven years, A History of Nomadic Behavior, is a blowtorch-distortion and blues-saturated combination of mostly mid-paced songs pierced with scarring pain and disconsolate fury.
The first release from the album, “High Risk Trigger,” encapsulates the filth and damaged beauty of Eyehategod. The song starts with a chugging groove reminiscent of SST-era Soundgarden before erupting into a doomy minor pentatonic passage that wouldn’t sound out of place on an ‘80s Saint Vitus album. Lyrically, the song -- like most Eyehategod ditties – is cryptic and abstract, but it touches on the all-pervasive fears bred by an invisible germ storm sweeping through the nation and a society
sickened by police brutality. (“Infection is the way, disruptive crowd takes aim/ Burn down the rail yard house, destroy the U.S.A.”).
“These songs don’t tell any stories, but there are a few themes in there that people can figure out if they listen closely,” Williams says. “The riots and the elections and COVID were all happening and all that was in the back of my mind when I did the vocals for the record.”
Another highlight of A History of Nomadic Behavior is the jarring “Fake What’s Yours,” which begins with a low-frequency buzz before shifting into an off-kilter start-stop riff that leads into the spoken line, “Silence was their trademark/won’t say it, never talk.”
EYEHATEGOD
Goatwhore
Cancer Christ
