The sleepless souls of EYEHATEGOD continue their 2019 worldwide live takeover with a week-long West Coast journey with Negative Approach, Sheer Terror, Final Conflict, and The Accüsed AD. The latest run of dates follows the band’s recent European tour and features the return of guitarist Brian Patton who announced his departure from the band earlier this year to spend more time with family. Patton has been filling in for Jimmy Bower who recently underwent surgery for a torn arm tendon. See confirmed dates below.
EYEHATEGOD w/ Negative Approach, Sheer Terror, Final Conflict, The Accüsed AD:
10/23/2019 El Corazon – Seattle, WA
10/24/2019 Dante’s – Portland, OR
10/25/2019 Den Of Sin – Sacramento, CA
10/26/2019 DNA Lounge – San Francisco, CA
10/27/2019 Casbah – San Diego, CA
10/28/2019 Teragram Ballroom – Los Angeles, CA
10/29/2019 La Santa – Santa Ana, CA
EYEHATEGOD unleashed their self-titled LP on 2014 via Housecore Records, breaking the band’s decade-and-a-half gap since their prior full-length and marks the most successful release of the band’s storied history earning the spot on the Billboard Current Album chart, on the Top 200 chart, on the Rock chart, on the Hard Rock chart and on the Indie chart upon its first week of release.
Having helped define the “NOLA sound” with their signature down-tuned, blues-inflected guitars awash in furious distortion, underpinning the tormented screams of Mike IX Williams over a thundering rhythm section, EYEHATEGOD reemerged stronger and more determined than ever before. EyeHateGod personifies desperation and addiction in the various backwaters of forgotten America, punctuated by the “N’awlins” sound of rebellion and pollution resulting in triumph over adversity.
In a review of their New York City performance at Brooklyn Bazaar last year, Rolling Stone crowns EYEHATEGOD, “one of America’s great live bands,” further and accurately elaborating, “There are certain bands who are very good at playing heavy rock or metal music. They’re tight, intense, professional; they project just the right air of macho authority. You might catch them in a club, nod your head and shoot ‘not bad’ looks to your friends during their set, and spring for a T-shirt at the merch table afterward. Then there are other bands, a very small handful, who, through some alchemical combination of execution and attitude, transcend their subgenre completely and connect with the primal root of rock & roll, offering showgoers a hint of that sacred, ‘What in the fuck is happening right now?’ wildness that’s been the hallmark of great American artists from Howlin’ Wolf to Jerry Lee Lewis and the Stooges. EYEHATEGOD are one of these bands.”
As a band that helped create a genre as well as equate a city with a sound, EYEHATEGOD has always remained humble anytime words like “legend” were thrown around to describe them. The thing with legends is that they grow stronger in time and over the years, word of mouth has been kind to the band. EYEHATEGOD is bigger now than they ever have been in their twenty-five plus years as a band. Pretty impressive seeing as they haven’t released a full-length album in almost fifteen years. Most people who know the band have a story to tell or they heard a story about the guys. Whether it was them playing nothing but feedback to a bewildered White Zombie crowd during their opening stint for the arena metal band in the mid-nineties, being banned from a certain venue for attacking a promoter with a barstool or cleaning out entire small towns of their drug supply, these stories spread throughout the metal community over the years, usually through a game of one-up-manship, establishing them as one of the most notorious bands around.
Certainly not the first band to be surrounded by myth and lore, EYEHATEGOD‘s staying and growing power ultimately comes from the music. No one riffs like Jimmy Bower and former guitarist Brian Patton, who left the band amicably earlier this year following the birth of his second child. Drummer Joey LaCaze grooved and held it together with numerous bass players throughout the years, doing so impeccably with Gary Mader over the past decade. Singer Mike IX Williams has always been able to encapsulate the ruins of life through his lyrics and vocal delivery. All combined, the music is the most genuine, distressing cacophony of sound around.
“Black Sabbath mixed with Black Flag with a little bit of Skynyrd and the element of blues thrown in there,” Bower once said of the band’s sound. Today, that style might sound somewhat commonplace. In 1988 it most definitely was not. The band’s second album, 1993’s Take As Needed For Pain is the pinnacle album that other bands of this genre to this day try to reach. Today, EYEHATEGOD sounds as fresh and innovative as ever. When the band released its first new track in over a decade, “New Orleans Is The New Vietnam,” it was clear that nothing about the band had changed. They were touring more than ever and used that time and energy to work on an album’s worth of songs. At the end of 2012 they were ready.
The recording process for Eyehategod started with producer Billy Anderson back in the fold (he recorded 1996’s Dopesick). The session saw both producer and band not quite on the same page and at the end, the album was unfinished. A few months later, the band reconvened at longtime friend Phil Anselmo’s home studio with producer Stephen Berrigan (Down). Both Anselmo and Berrigan helped draw out the missing pieces to one of underground metal’s most anticipated albums in years.
An unexpected tragedy occurred shortly upon returning home from a recent five-week European tour in the Fall of 2013: Joey LaCaze passed away due to respiratory failure. An outpouring of condolences and tributes spread online. Enough can’t be said of the loss felt by the band, family and friends. Fortunately, LaCaze’s drum tracks were captured by Anderson and appear on the album, creating the definitive tribute for the member of the band who encapsulated best just what EYEHATEGOD was all about; seriously not taking yourself too seriously. New Orleans native, Aaron Hill (Mountain Of Wizard, Missing Monuments), took over for Joseph LaCaze without missing a beat, both figuratively and literally. The band hit the road after wrapping up the record and have been on their most intensive touring cycle ever since.
“…they’ve come out swinging, armed with yet another of their often-renewed leases on life and still spoiling for a fight. That EyeHateGod exists at all is a miracle in and of itself, but the fact that it is so damn great is simply extraordinary.” — Pitchfork
"...a stomping and venomous set of eleven tracks that reignite the band’s amazing propensity for down-trodden, electric blues ..." -- Noisey
“…in terms of consistency and sheer ‘fuck yeah!’-ness. this is right up there in that first tier of must
have EYEHATEGOD platters.” — Metal Injection
“EYEHATEGOD play to their ferociously metallic strengths while never compromising their identity as swampy sludge-rockers, and the result is an album that’s equally impressive as it is brutal.” — Pop Matters
Jimmy Bower - guitar
Mike IX Williams - vocals
Gary Mader - bass
Aaron Hill - drums