Artist: Crowbar
Label: Pavement Music
Release Date: 1993
Rating: 5 Skulls
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Title: Crowbar Artist: Crowbar Label: Pavement Music Release Date: 1993
Rating: 5 Skulls |
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Reviewed by Equinox:
I don't think the metal world in 1993 was fully prepared for Crowbar's self-titled release, and I am not entirely sure they were ready for Crowbar at all. This band was too gritty and too honest for the metal world at that time, not "looking the part" of a classic metal band, just a bunch of intimidating, beer-drinking Manly Men uncharacteristically pouring their hearts out into a recording for all to hear. Here was the soundtrack to one man's struggles with love, presented in an entirely new way; a story of passion and rejection expressed through what can only be described as some of the heaviest music humanly possible.Crowbar's self-titled masterpiece, just one year removed from their debut album Obedience Through Suffering, featured ten songs of superior sludge metal that, until that time, no one had heard the likes of. This band seamlessly conjoined heavy metal harmonies, eerily catchy and head-bobbing groove and slow Southern swagger in a way which was unheard of at the time and remains unmatched to this day. Kirk Windstein's remarkable voice, which is very gruff yet highly melodic as well, is the emotional cog of the looming, iron-heavy Crowbar machine, and the guitar duo of Windstein and Matt Thomas, coupled with Craig Nunenmacher on drums and Todd Strange on bass manage to create an air of true unparalleled heaviness, time and time again, from the first song to the last.
The opener of this sensational album is the sub-three-minute "High Rate Extinction," and it is a fitting introduction to the aural immensity to come. The thunderous, mid-paced chug riff at the song's onset, coupled with Craig Nunenmacher's relentlessly pounding tom beats and Windstein's crushing lyrics and vocal delivery, set the pace perfectly for the next song, the punishing "All I Had (I Gave)." This tune is much faster at first, with an upbeat hardcore-style drumbeat; then, in true trademark Crowbar fashion, the riff continues along at the same rate while the drumbeat slows down considerably, creating what is arguably one of the finest slow mosh riffs ever constructed. Throw in another very cool tom breakdown, another slow heavy chug riff with inventive drum beats and some sweet time signature meddling and you've got yourself another classic track.
"Will That Never Dies" is next up, and this one possesses all of the signature Crowbar traits: huge guitar riffs, more busy drumming and a fantastic juxtaposition of ultra-heavy and Southern-fried riffs, all the while coming off in a pounding, brutal manner that ricochets in your head long after you've shut the stereo off and gone to bed. "Fixation" follows with yet another sweet drum and bass intro, then the guitars ring in with a swampy, soulful feel, then (of course), the powerful riffs rain down, and the groove is somehow undeniable all the while.
A cover of Led Zeppelin's classic "No Quarter" follows, and I can't think of any Zeppelin cover song that was done this well, not only by a metal band, but by any type. The Crowbar boys turn down the speed a few notches lower and slower than the original, and it fits into the album's mood and personality without a shadow of a doubt. "Self-Inflicted" picks up the pace from here, and the explosive energy of the opening minute of this song is almost unrivaled. This speed burst only makes the slower, heavier parts seem that much more so, and, of course, the song slows down to a snail's pace before long. More crushing odd-time riffs finish this one out, then it's on to "Negative Pollution," which is quite similar to its predecessor, with more tasty drumming from Nunenmacher and a superb flow. The slowest ending humanly possible caps the song off and leads the way for what is perhaps the finest tune on the entire album, the slow, plodding "Existence Is Punishment."
"Existence Is Punishment" arrives with a melancholy bass/drum measure, which soon gives way to one of the truly heaviest, most heartfelt riffs ever penned. The thudding chug of each note is belted out with the type of slow intensity you'd expect from a gemcutter working on a priceless diamond. Just when you thought it couldn't get any heavier, the amazing dual guitar harmonies kick in and add an unmistakable seriousness to the track, an air of both coldness and beauty. The drums are slow and relentless, and the lyrics and singing are strong as a bull, certainly from a man who has great passion for his work. "Holding Nothing" and "I Have Failed," two more slooow jams, close out the album as it should close; with intensity and grit.
Crowbar may very well be the most underrated and under-appreciated band in metal history. Crowbar was (and still is) a force to reckoned with, both on record and on stage. Though some may disagree, I personally believe that this album is one of the most important and influential metal releases of the Nineties. Its replay value is unheard of (I think I may have spun this one about twice a day for three years straight); it just never gets old. Crowbar found their niche in the slow and swampy, and blossomed into the finest band in the history of their genre. Here is the proof.
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