One of the first punk/metal fusion bands, Corrosion of Conformity (C.O.C. for short) were formed in North Carolina by guitarist Woody Weatherman during the early '80s. In their early years, C.O.C. became known for their aggressive sound, intelligent political lyrics, and willingness to break away from both hardcore and metal conventions. In the... [+] Read More

One of the first punk/metal fusion bands, Corrosion of Conformity (C.O.C. for short) were formed in North Carolina by guitarist Woody Weatherman during the early '80s. In their early years, C.O.C. became known for their aggressive sound, intelligent political lyrics, and willingness to break away from both hardcore and metal conventions. In the '90s, their shift to a more stripped-down, deliberate sound -- sort of Black Sabbath filtered through the Deep South -- brought them enough in line with the alternative metal zeitgeist to bring them a measure of mainstream popularity.


C.O.C. debuted in 1983 with the thrashy, Black Flag-influenced Eye for an Eye, featuring a lineup of Weatherman, drummer Reed Mullin, vocalist Eric Eycke, and bassist Mike Dean. They began to build up a cult following with 1985's Animosity, which featured additional guitarist Pepper Keenan and new vocalist Simon Bob. However, their label at the time, Death, grew tired of the band's internal instability and dropped them following 1987's Technocracy. It took several years for a new lineup to come together -- featuring Weatherman, Keenan, Mullin, vocalist Karl Agell, and bassist Phil Swisher -- but when it did, the result was 1991's Blind, a powerful, focused, more metallic record which increased their audience by leaps and bounds. Agell was fired following its success, and he and Swisher went on to form Leadfoot; meanwhile, Keenan became the full-time lead vocalist on 1994's even more Sabbath-esque Deliverance, which also featured the return of original bassist Mike Dean. During 1995, Keenan took a short detour into the Southern metal supergroup Down (which also featured Pantera's Phil Anselmo and members of Crowbar). Thanks to a shift in popular taste in favor of the ultra-heavy brand of alternative metal the group had helped pioneer, C.O.C. found themselves with a larger audience than ever before when they released 1996's Wiseblood, which continued and expanded their rock radio success. After a lengthy break from recording and a world tour with Metallica, C.O.C. returned with a new album in the fall of 2000, titled America's Volume Dealer. Another break ensued, resulting in the release of the live recording Live Volume in 2001. It wasn't until April of 2005 that the band regrouped for the hard-hitting and complex In the Arms of God. ~ Steve Huey, All Music Guide [-] Hide

Buzzov-en has been cranking out drug-fueled, misanthropic sludge punk in various incarnations since their inception in 1990. Known almost as much for their out-of-control and sometimes violent live shows as they are for their music, the band carries on a tradition shared by such fellow Southern troublemakers as Eyehategod and Antiseen. They have... [+] Read More

Buzzov-en has been cranking out drug-fueled, misanthropic sludge punk in various incarnations since their inception in 1990. Known almost as much for their out-of-control and sometimes violent live shows as they are for their music, the band carries on a tradition shared by such fellow Southern troublemakers as Eyehategod and Antiseen. They have endured several lineup changes and apparent breakups over the years, with the only permanent member being singer/guitarist Kirk Fisher (alternately credited on albums as "Reverend Dirtkicker" or simply "Kirk.") With drummer Ashley Williamson (aka Ash and Ash Lee) and bassist Brian Hill in tow, they recorded their first EP (Wound) and full-length (To a Frown) on the Allied label in the early to mid-'90s. Eventually signing with the more prominent Roadrunner Records, the band unleashed their second full-length, Sore, in 1994. (By this time, they had added a second guitarist in Buddy Apostolis, aka Buddy and Little Buddy.) Yet instead of garnering the type of recognition as some of their labelmates (see Sepultura or Fear Factory, for example), Buzzov-en remained very much a cult band, continuing to tour heavily (including a stint opening for GWAR) but ultimately disintegrating before they could issue a Roadrunner follow-up. By the time of their next full-length, 1998's At a Loss, Fisher was the only original member left, with bassist/vocalist Dave "Dixie" Collins (later of Weedeater) among the new recruits. Assumed to have broken up once more, Fisher and company nonetheless returned yet again in 2001 with the long-delayed Revelation: Sick Again, this time on the Hydrahead label. ~ William York, All Music Guide [-] Hide

The misanthropic sludge metal outfit Eyehategod was formed in New Orleans in 1988, and became an important part of a Southern sludgecore scene that included bands like Crowbar and Down, all of whom were heavily influenced by Black Sabbath, Black Flag, and the Melvins. Eyehategod was the brainchild of guitarist Jimmy Bower and drummer Joe LaCaze;... [+] Read More

The misanthropic sludge metal outfit Eyehategod was formed in New Orleans in 1988, and became an important part of a Southern sludgecore scene that included bands like Crowbar and Down, all of whom were heavily influenced by Black Sabbath, Black Flag, and the Melvins. Eyehategod was the brainchild of guitarist Jimmy Bower and drummer Joe LaCaze; the two recruited vocalist Michael D. Williams, lead guitarist Brian Patton, and bassist Steve Dale, and debuted in 1992 with the album In the Name of Suffering. 1993's Take As Needed for Pain was recorded with new bassist Mark Schultz, after which the band went on an unofficial hiatus. Bower joined Crowbar (as a drummer) and also played in the Southern metal supergroup Down, Patton played in the more death metal-ish Soilent Green, and Williams worked as a writer for Metal Maniacs magazine. In 1996, Eyehategod reconvened (with Vince LeBlanc on bass) for Dopesick; however, the band fell largely silent for some time afterward. Bower returned to Crowbar for their 1998 album, Odd Fellows Rest, but left soon after to return to Eyehategod, who recorded several 7" singles on small independent labels. These were eventually collected on 2000's Southern Discomfort, along with several live tracks and outtakes from the Dopesick sessions. Southern Discomfort also served to prime the pump for another Eyehategod full-length; Confederacy of Ruined Lives was released later that year, with Daniel Nick filling the revolving-door bass slot. ~ Steve Huey, All Music Guide [-] Hide

Down is an all-star heavy metal side project, whose original lineup consisted of members from Pantera (singer Phil Anselmo), Corrosion of Conformity (guitarist Pepper Keenan), and Crowbar (bassist Todd Strange and drummer Jimmy Bower). Formed in the mid-'90s when Pantera was on a brief break (between their Far Beyond Driven and The Great... [+] Read More

Down is an all-star heavy metal side project, whose original lineup consisted of members from Pantera (singer Phil Anselmo), Corrosion of Conformity (guitarist Pepper Keenan), and Crowbar (bassist Todd Strange and drummer Jimmy Bower). Formed in the mid-'90s when Pantera was on a brief break (between their Far Beyond Driven and The Great Southern Trendkill releases), the quartet's members had been longtime friends and decided to break up their downtime (hence their name). The East/West label issued Down's debut in 1995, NOLA, an abbreviation for New Orleans, LA, where all its original members hailed from. While many assumed that the group would specialize in over-the-top, extreme metal, it contained more elements of classic rock than the member's usual bands (a prime influence of the group being Black Sabbath). After a supporting tour wrapped up, little was heard from the group, as the members returned back to their full-time projects, leading many to assume that Down as a one-off. But this proved not to be the case. Anselmo, Keenan, and Bower reconvened to work on new material in 2001, with Pantera bassist Rex Brown taking Strange's spot in the lineup (which then included Crowbar guitarist Kirk Windstein). March of 2002 saw the release of Down's long awaited sophomore effort, the appropriately titled Down II. ~ Greg Prato, All Music Guide [-] Hide

New Orleans metal band Crowbar was originally comprised of vocalist/guitarist Kirk Windstein, guitarist Matt Thomas, bassist Todd Strange, and drummer Craig Numenmacher. Once known as the Slugs, the band's slow, grinding, heavy sound has alternately been tagged sludge metal and sludgecore, and has drawn comparisons both vocally and musically to... [+] Read More

New Orleans metal band Crowbar was originally comprised of vocalist/guitarist Kirk Windstein, guitarist Matt Thomas, bassist Todd Strange, and drummer Craig Numenmacher. Once known as the Slugs, the band's slow, grinding, heavy sound has alternately been tagged sludge metal and sludgecore, and has drawn comparisons both vocally and musically to Pantera, the Melvins, and Tad. Debuting in 1992 with Obedience Through Suffering, they subsequently signed to Pavement Music and issued albums including 1993's Crowbar and 1995's Time Heals Nothing. Drummer Numenmacher subsequently left the band, and was temporarily replaced by Jimmy Bower, also the rhythm guitarist for kindred spirits Eyehategod. Bower also played drums in Down, a side project for Pantera's Phil Anselmo and Corrosion of Conformity's Pepper Keenan that also featured Crowbar's Windstein and Strange. Guitarist Sammy Pierre Duet, formerly of Acid Bath, joined up for 1996's Broken Glass following the departure of original guitarist Thomas. Bower elected to re-focus on Eyehategod after playing on 1998's Odd Fellows Rest, and was replaced by drummer Sid Montz for 2000's Equilibrium. That association proved short-lived, however; original drummer Numenmacher rejoined later that year, around the same time that bassist Strange called it a career. ~ Steve Huey, All Music Guide [-] Hide

Crowbar was never afraid to share their pain, and Time Heals Nothing exemplifies the New Orleans doom purveyor's well-practiced aching out loud. The final recording before a series of lineup changes and side projects tested the band's focus, this disc might qualify as the sludge rocker's most punishing collection. Songs like "Through a Wall of... [+] Read More

Crowbar was never afraid to share their pain, and Time Heals Nothing exemplifies the New Orleans doom purveyor's well-practiced aching out loud. The final recording before a series of lineup changes and side projects tested the band's focus, this disc might qualify as the sludge rocker's most punishing collection. Songs like "Through a Wall of Tears" typify the depressing, densely textured morass that the group's small but loyal following spent almost a decade wallowing in. Time Heals Nothing's ten tracks could possibly sound nondistinct to new listeners. Patient fans, however, are rewarded by Crowbar's uniquely catchy tunes after repeated listening. The interesting melodies that emerge from singer/guitarists Kirk Windstein's damaged vocal chords are surprisingly hummable. Pulling double-duty, Windstein (along with co-guitarist Matt Thomas) crafts the thickest of sludge-guitar grooves that nicely complement the vocals and Craig Nunemacher's solid drumming. Bitter howling and the thickest of slow-metal riffing combine to make this 1995 Zoo release as powerful as any of the band's attempts at sour self-evisceration. ~ Vincent Jeffries, All Music Guide [-] Hide

Getting a full major-label deal didn't affect Fudge Tunnel any in terms of what they did -- Newport still handled production and so forth -- but whichever Sony executive figured they had a radio hit on their hands was probably on some expensive crack. The tight, stop-start riffs and screamed, shouted vocals probably meant visions of Helmet's... [+] Read More

Getting a full major-label deal didn't affect Fudge Tunnel any in terms of what they did -- Newport still handled production and so forth -- but whichever Sony executive figured they had a radio hit on their hands was probably on some expensive crack. The tight, stop-start riffs and screamed, shouted vocals probably meant visions of Helmet's success danced in the accountant's heads, but MTV didn't come calling. Regardless, for those already taken by the trio's blunt, brute way around metal, Creep Diets maybe had a calmer moment or two in comparison to Hate Songs, but otherwise cranked up the volume and sought to take no prisoners. Opening track "Grey" gave a hint as to proceedings -- while most of the time it alternated between bass/drums/vocals verses and a crisp full band punch on the chorus, any accusations of Nirvana wannabe status were shredded by the massive go-to-hell solo pasted right in the middle. From there, the trio makes its way, and while things do sound great throughout, songwise there's not much variety -- hasn't hurt a lot of bands, perhaps, but in the end most listeners would want some sort of break. As a result, when Fudge Tunnel does try something different, it stands out -- the key song being "Don't Have Time for You." Smack dab in the middle of the album, it's a lazier lope of a song that still fits into the Fudge Tunnel approach (semi-buried vocals, upfront bass) that works despite not immediately beating in skulls, even with the fried ending. Jazzy drum fills on "Ten Percent" and the apparently Smashing Pumpkins-quoting "Face Down" give other hints of testing bounds. There's a definite sense of humor at play in any event -- why else name a particularly messy number "Tipper Gore"? ~ Ned Raggett, All Music Guide [-] Hide

By the time they released 1991's Blind, crossover pioneers Corrosion of Conformity were pursuing a decidedly metallic direction, but this in no way compromised their punk ethic, overtly political lyrical themes, and incredible sonic aggression. The wicked melodies of "These Shrouded Temples...Remain" bookend the album, and excellent tracks like... [+] Read More

By the time they released 1991's Blind, crossover pioneers Corrosion of Conformity were pursuing a decidedly metallic direction, but this in no way compromised their punk ethic, overtly political lyrical themes, and incredible sonic aggression. The wicked melodies of "These Shrouded Temples...Remain" bookend the album, and excellent tracks like "Damned for All Time" and "Mine Are the Eyes of God" manage to be both utterly heavy and surprisingly catchy. "Dance of the Dead" and "Echoes in the Well" are about as straightforward metal as C.O.C. gets, but their politically militant roots are fully displayed on "White Noise" and "Great Purification" -- both scathing attacks on racism. The gentle, meandering chords of the instrumental "Shallow Ground" offer a brief respite from the onslaught, but then lead into the album's fiercest moment, "Vote with a Bullet." Constructed on an extremely distorted riff and featuring equally fuzzy, computer-processed vocals from guitarist Pepper Keenan, the song is a sonic precedent for the countless aggro-thrash bands (Korn, Fear Factory, Limp Bizkit, etc.) which dominated the late '90s. Years ahead of its time, Blind is simply one of the most important heavy rock albums of the decade. ~ Ed Rivadavia, All Music Guide [-] Hide

Opening with the repeated audio sample "welcome to violence" over a wash of rumbling white noise, occasional bass notes, and gunshot snare hits, Sore is perhaps one of the most vicious, violent albums ever created, and certainly not in a posturing sense -- the kind of false bravado adopted by hardcore and rap/metal crossover bands -- but in the... [+] Read More

Opening with the repeated audio sample "welcome to violence" over a wash of rumbling white noise, occasional bass notes, and gunshot snare hits, Sore is perhaps one of the most vicious, violent albums ever created, and certainly not in a posturing sense -- the kind of false bravado adopted by hardcore and rap/metal crossover bands -- but in the purest, most undiluted manner. Buzzov-en lived it like they played it: with absolute, careless abandon, violence, hardcore heroin use, theft -- you name it. Certainly not pretty or laudable in any sense. However, the band, particularly founder Kirk, was able to harness this negativity into one of the most potent vessels of hatred and rage since Black Flag in the early 1980s. Recorded and mixed powerfully and percussively by Billy Anderson, Sore captures the mammoth drumming abilities of Ash Lee, Kirk's exceptionally painful pick-slides down his Les Paul, and the punishing, hardcore brutality of this trio at their peak. Unfortunately, it was precisely the elements the band sang about that took them down. Heroin and years of physical abuse took their toll on the original incarnation of Buzzov-en, and Kirk was left holding the bag -- quite literally -- as the band imploded. Over the next few years, he would reassemble Buzzov-en numerous times with different lineups, some to great effect, some to quite the opposite, however, none with the same kind of viciousness as this one. ~ Patrick Kennedy, All Music Guide [-] Hide

With guitarist Pepper Keenan now at the helm as lead singer and principal songwriter, COC abandoned most of the punk influences of their crossover past and turned into a full-fledged Sabbath-inspired metal band with 1994's Deliverance. Most of the songs on the album are built on monolithic power chords which range from ferocious speed on... [+] Read More

With guitarist Pepper Keenan now at the helm as lead singer and principal songwriter, COC abandoned most of the punk influences of their crossover past and turned into a full-fledged Sabbath-inspired metal band with 1994's Deliverance. Most of the songs on the album are built on monolithic power chords which range from ferocious speed on "Heaven's Not Overflowing" and "Senor Limpio" to slower, groovier numbers such as "Broken Man" and leadoff single "Albatross." Second single "Clean My Wounds" also struck gold at rock radio with its staccato riffing, and "Seven Days" adds eerie guitar melodies to the mix. On the downside, the plodding title track (featuring vocals from returning founding bassist Mike Dean) gets a little tedious around the sixth minute, and a number of faceless guitar instrumentals are interspersed through the album, really breaking up its rhythm. ~ Ed Rivadavia, All Music Guide [-] Hide