Crowbar
Website: https://crowbarnola.com
Facebook: https://facebook.com/crowbarmusic
Instagram: https://instagram.com/crowbarmusic
Spotify: https://open.spotify.com/artist/3xtIpqzIOfQUxKce8BU4Ka
The moment you hear it, you know it’s CROWBAR. Praised by Pitchfork, VICE, and Metal Hammer. Twice immortalized by MTV’s Beavis and Butt-Head. The group is worshipped by the heartbroken and downtrodden – those who exorcise their demons in smoke-covered riffs of mournful devastation. A genuine band’s band with a wide-ranging influence across multiple genres, Crowbar “helped draw up the sludge metal blueprints” (Kerrang!). Celebrating a recent 30th anniversary, Crowbar is led by one of the most beloved figures in heavy metal, riff overlord Kirk Windstein. His menacing bellow and smooth drawl put resilient, unrepentant strength behind even the most somber odes to suffering.
Crowbar is an American sludge metal band formed in New Orleans, Louisiana, in 1990. The band is fronted by vocalist/guitarist Kirk Windstein, Crowbar’s sole constant member. Infusing a slow, brooding doom metal sound with the aggression of hardcore punk, Crowbar, along with other bands in the New Orleans heavy metal scene, pioneered a style known as sludge metal, though Windstein himself has admitted a dislike for the term. The band has also covered songs from outside of their immediate genre; these include Gary Wright’s “Dream Weaver” on Equilibrium, Iron Maiden’s “Remember Tomorrow” on Odd Fellows Rest, and Led Zeppelin’s “No Quarter” on Crowbar.
Eyehategod
Website: http://eyehategod.ee/
Facebook: http://facebook.com/OfficialEyeHateGod/
Instagram: http://instagram.com/EyehategodNola
Twitter: http://twitter.com/EyehategodNola
“The quintessential Southern sludge band” – PITCHFORK
“This [is] a band built on a narrative about doing the opposite of what it thought people wanted: playing slow and messy music in a fast and virtuosic time, the 1980s speed-metal moment.” – NY TIMES
“…True musical pioneers in every sense of the word.” – THRASHER MAGAZINE
ROLLING STONE:
Take As Needed For The Pain – #92 on the “Greatest Metal Albums of All Time” list
One of “America’s great live bands”
New Orleans’ EYEHATEGOD is the snarling, bilious sound of dead-end America. Since 1988, they’ve been a soundtrack for the troubled masses. Ugly music for ugly times. That’s the sense of disenchantment and disease that lies at the heart of their latest and sixth full-length album, A History of Nomadic Behavior. Anyone familiar with EHG’s story knows this is survivor’s music, a sound unto itself where Sabbathian riffs are meted out with caustic anger that goes beyond punk. That’s been the blueprint since guitarist Jimmy Bower (also of NOLA supergroup, Down) founded the band in 1988, with vocalist Michael IX Williams joining not long after. 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. 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. From the bitter pill of opener “Built Beneath the Lies” to the hypnotic haze of closer “Every Thing, Every Day,” it’s clear that EYEHATEGOD hasn’t slowed or mellowed with time. It’s quite the opposite. This is disorienting, uneasy listening. Music that still very much hurts.
Support:
Bleeth
Website: https://linktr.ee/Bleeth
Instagram: https://instagram.com/Bleeth_band
Facebook: https://facebook.com/bleethband
Bandcamp: https://bleeth.bandcamp.com
Bleeth’s visceral post-metal sound is grounded in sludgy grime of heavy, driving riffs. The Miami-based Cuban-American band formed in 2015, and is composed of bassist Ryan Rivas, guitarist Lauren Palma, and drummer Hector Mojeno.
Bleeth’s first full length album Geomancer was released via Anti-Language Records (Los Angeles) on August 24, 2018.
Their 2nd full length harbinger marked a shift in a new direction—shorter and faster than past records, with particular emphasis on atypical tunings and arrangements. Bleeth signed with Seeing Red Records to release their sophomore album “Harbinger” in May 2021. SRR is a renowned independent label known for its dedication to heavy music. The album delves into themes of internal struggles with faith, societal structures, and the unknown future.
The success of “Harbinger” took Bleeth on multiple tours throughout the United States playing shows with the likes of Caveman Cult, Wrong, ASG, Weedeater, Capsule, Maggot Heart, Messa, Daikaiju, Portrayal of Guilt, Dead City Punx, Crowbar, Spirit Adrift, among others. Bleeth went back in the studio to record their forthcoming album “Marionette.” The album deals with fear of control, the self, and manipulation through injustice. The album represents the invisible double of the human, from a dual perspective: It’s an emotional and sonic journey that delves into duality—the tension between light and dark, freedom and oppression. The album is set to be released on May 29 in 2025.