EYEHATEGOD, Caldera & Slumbug – Mothership: July 31, 2024

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EYEHATEGOD are an originator band from the “Louisiana Sound” metal music scene (NOLA) heavily influenced by Black Sabbath and The Melvins, but energised (perhaps politicised) by hardcore punk, think Black Flag.

Since 1988, they have released a tenner of albums, evolved their sludge-metal sound a little, toured with such luminaries as Chaos UK, White Zombie and Corrosion of Conformity, and with core members Jimmy Bower (guitar) and vocalist Mike Williams still in tow, (as well as newbies Gary Mader (bass) and Aaron Hill (drums), lasted longer than many of their contemporaries.

Last, here in 2019, their most recent album 2021’s A History of Nomadic Behavior foretold that any punters in attendance at The Mothership were going to have their lug holes seriously cleared out on a mid-winter’s Wednesday night.

 Slumbug

A Tamaki Makarua three-piece made up of (in their words) either three shit-talking, dope-smoking, head-banging babes who just want to smash things, or alternately, righteous sludge metal geniuses dismantling oppressive structures through glorious noise.

Whichever it is, Slumbug, Jessica Patton (Guitar/Vox) Lucy Katt Cara (Bass/Vox) and Carla Tinsley (Drums) have been working their magic since, well at least 2018 when they played with Sticky Filth, and also opened previously for EYEHATEGOD in 2019.

Slumbug has the early slot. and start off a little shakily, the sound on and off stage is not quite right, but by three songs in, the mix is on point. In Particular, the sabbath-doomish song with the minimalist subtle bass-driven intro slyly leads to a behemoth of an onslaught.

The audience is sparse at the start but implodes as the room fills, they receive lots of crowd support, as reminiscent riffs and grooves are reimagined by the trio, it is the impact of the heavy bass rhythms that creates a cornerstone for for the other two to finesse in and out of.

Replete in magnificent taonga, a Sabbath Bloody Sabbath t-shirt, the drummer is majestic to watch as she leaves no drum or cymbals unstruck, her drumming adeptness is a magnificence to gaze upon.

The moments of post-punk gothic scattered throughout their songs add a welcome dimension to their sound, this variety is the spice of life, that gave Slumbug an edge tonight.

 Caldera

Based in Ngāmotu/New Plymouth, Caldera describes themselves as ‘rumbling Mountain Sludge/Doom from Taranaki’ which makes it easy not to confuse them with late ’70s, Caldera who combined jazz, funk, and rock with a wide variety of Latin music. Jesse Saywell (Vox), Thom Daly (Guitar & Vox, )Aaron Wellington (Bass) and Dylan Bines (Drums & Vox) have only recently this year ventured out of their homeland, so this is a first for both of us.

“We’re from fucking Taranaki! Shouts a band member” as the four-piece twin-vocals launch into their first few songs, the twin vocal style creating an interesting counterpose as doom-style meets death-style. The music is very much paced-sludge heavily guitar-dominated, their freshness is revealing, as the sometimes simplicity of their sound is laid bare.

However their passion for their music exudes energy, and with a quartet for songs available on Bandcamp, and the helping hand of the likes of people such as Ben Mulchin (and others) a few shows in the big smokes will hopefully see and hear Caldera construct their sound.

 EYEHATEGOD

EYEHATEGOD have attracted from out in the suburbs, a mixed-up crowd of black draped, Crass back-patched, Carcass t-shirt wearing, studded clothed (and face), bodily tattooed gentle-folk, everything that would horrify Prime Minister Luxon and his new right Christian minions. It is a glorious, and polite crowd of reprobates to be ensconced with tonight, and as I attempt to take awful photos, politeness, space-making and camaraderie are abundant (except for one hooded-cunt)

Vocalist Mike Williams is wearing a GERMS armband (right-on) and after saying Auckland numerous times, EYEHATEGOD launches into a powering set that has the crowd mangling and crowd surfing rapidly.

Early on the pace is variable, songs follow songs slow and fast, hard and harder’er. The Black Flag/Hardcore element seems viscerally dominant, perhaps it is William’s punk narratives that give such an impression

The songs come fast, EYEHATEGOD are at the end of the tour, and at times Williams seems to be pushing through the pain/sleep/tiredness barrier. But still, the band endures, with Williams encouraging a mosh circle briefly.

At times it is hard to decipher individual compositions, but my memories are triggered, as I’m sure I hear at least these bangers in there somewhere: High Risk Trigger, Sister F..ker Part 1′, Lack of Almost, Worthless Rescue, and Masters of Legalized Confusion.

 The night’s onslaught comes to a nigh end, with the terminating track off A History of Nomadic Behavior, Everything, Everyday, a cryptic commentary on the futility and oppression of modern (working class) life. William’s, brilliant dadaist-manner vocal delivery is sublime as the riffs and distortion shunt us towards the final repose.

There’s no encore, the show is over, EYEHATEGOD’s Australasian crusade is completed, and only fractured memories exist for fools to babble about at future gatherings.

Simon Coffey

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Simon Coffey
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