- 01At a LossAfter completing several tours and cutting multiple records with Buzzoven, most notably 1998’s pugilistic …At a Loss, Collins decided to take Weedeater more seriously.from the chapter
- 02And Justice for Y’AllConsider the title of the trio’s 2001 debut, …And Justice for Y’All, which puts a Squidbillies spin on Metallica’s …And Justice for All, or the cover of 2003’s Sixteen Tons.from the chapter
- 03And Justice for AllConsider the title of the trio’s 2001 debut, …And Justice for Y’All, which puts a Squidbillies spin on Metallica’s …And Justice for All, or the cover of 2003’s Sixteen Tons.from the chapter
- 04Sixteen TonsConsider the title of the trio’s 2001 debut, …And Justice for Y’All, which puts a Squidbillies spin on Metallica’s …And Justice for All, or the cover of 2003’s Sixteen Tons.from the chapter
- 05Age of QuarrelNew York hardcore was pretty big here for a while, although I didn’t get too much into that aside from Cro-Mags’ Age of Quarrel.from the chapter
- 06“Southern Cross”Also featuring a cover of Crosby, Stills, Nash & Young’s “Southern Cross,”…And Justice For Y’All is undeniably solid.from the chapter
- 07“Southern Cross”from …And Justice for Y’AllAlso featuring a cover of Crosby, Stills, Nash & Young’s “Southern Cross,” …And Justice For Y’All is undeniably solid.from the chapter
- 08“Bull”In opener “Bull,” Shepherd plays a blues riff that wades through old motor oil.from the chapter
- 09“Potbelly”The sample that opens second track “Potbelly” perfectly captures the soul of Sixteen Tons.from the chapter
- 10You Fail MeWeedeater did that with Sixteen Tons and has since used the record’s structure as a sustainable and malleable template, similar to Converge with You Fail Me and Neurosis with Times of Grace.from the chapter
- 11Times of GraceWeedeater did that with Sixteen Tons and has since used the record’s structure as a sustainable and malleable template, similar to Converge with You Fail Me and Neurosis with Times of Grace.from the chapter
- 12God Luck and Good SpeedDuring the five years between Sixteen Tons and 2007’s God Luck and Good Speed, Weedeater toured with a roughneck’s work ethic.from the chapter
- 13“Weed Monkey”From the sneering heaviness of the title track and “Weed Monkey” to the up-tempo stride of “Wizard Fight” and “$20 Peanut,” God Luck and Good Speed moves with a relaxed dirtiness.from the chapter
- 14“Wizard Fight”From the sneering heaviness of the title track and “Weed Monkey” to the up-tempo stride of “Wizard Fight” and “$20 Peanut,” God Luck and Good Speed moves with a relaxed dirtiness.from the chapter
- 15“$20 Peanut”From the sneering heaviness of the title track and “Weed Monkey” to the up-tempo stride of “Wizard Fight” and “$20 Peanut,” God Luck and Good Speed moves with a relaxed dirtiness.from the chapter
- 16“Alone”Mixing things up, fourth track “Alone” is a beautiful banjo tune that shines like an Appalachian sunrise until Collins starts in with his misanthropic lyrics.from the chapter
- 17“Give Me Back My Bullets”The seventh cut is a cover of Lynyrd Skynyrd’s politically nuanced “Give Me Back My Bullets.”from the chapter
- 18“Willow”God Luck and Good Speed closes with “Willow,” a piano ditty that moves with a lugubrious honky-tonk shuffle.from the chapter
- 19Revelation: Sick AgainThe same year that album came out, Buzzoven returned with Revelation: Sick Again.from the chapter
- 20Jason… The DragonBy 2010, Weedeater had written a new record, Jason… The Dragon.from the chapter
- 21“Palms and Opium”Sixth track “Palms and Opium” is the trippiest of Weedeater’s soft songs by a long shot.from the chapter
- 22“Homecoming”Kirkum pounds out a solo in the minute-long “March of the Bipolar Bear,” which leads into the malicious swagger of “Homecoming.”from the chapter
- 23“Whiskey Creek”With flowing water and croaking frogs in the background, “Whiskey Creek” brings the record to a close.from the chapter
- 24GoliathanIn September of 2014, Weedeater again entered Electric Audio, this time to record the masterful Goliathan.from the chapter
- 25“Processional”Released by Season of Mist in 2015, the LP begins with the seemingly sweet organ tune “Processional,” which becomes not-so-sweet when Collins croons, “I really hate your face / I hate the things you do / I know you don’t like me / I’m going to bury you.”from the chapter
- 26“Battered and Fried”A crusty banjo track, “Battered and Fried” makes for a bridge between the first and second half of the record.from the chapter
- 27Rise and FallFrom 1994–2000, Damad put out a handful of demos, EPs, seven-inches, and two acidic LPs: 1997’s Rise and Fall and 2000’s genre-dissolving Burning Cold.from the chapter
- 28Burning ColdFrom 1994–2000, Damad put out a handful of demos, EPs, seven-inches, and two acidic LPs: 1997’s Rise and Fall and 2000’s genre-dissolving Burning Cold.from the chapter
- 29Human = GarbageBurning Cold is like Dystopia’s Human = Garbage, recreating the band’s misanthropic worldview so well that it could plausibly push someone to build a cabin in the woods, cut off all human contact, and die alone.from the chapter
- 30“Token”Driven by Depken’s primal drumming, “Token” is a portent for many Kylesa tunes.from the chapter
- 31KylesaReeling from that sudden loss, Pleasants, Depken, and Cope decided to finish Kylesa, getting Michael Redmond to track the remaining bass.from the chapter
- 32To Walk a Middle CourseIn the three years between Kylesa and To Walk a Middle Course, Brandon Baltzley replaced Depken on drums, and Corey Barhorst came in on bass and vocals.from the chapter
- 33Time Will Fuse Its WorthCope and Pleasants always wanted to have two drummers in Kylesa, but they weren’t able to make that happen until 2006’s Time Will Fuse Its Worth, when they recruited Jeff Porter and Carl McGinley.from the chapter
- 34(A) Senile AnimalThe band’s sophomore LP came out on Prosthetic Records—and just on the heels of Melvins’ (A) Senile Animal, that group’s first album with two drummers.from the chapter
- 35Static TensionsIt just doesn’t compare to the percussive masterpiece that is 2009’s Static Tensions, for which Eric Hernandez took Porter’s place and Javier Villegas replaced Barhorst on bass.from the chapter
- 36“Kaiowas”Following a swinging breakdown, Pleasants, Cope, and Villegas open a window into the cosmos, through which McGinley and Hernandez send rays of light, hitting on a similarly celebratory vibe as Sepultura’s acoustic jam, “Kaiowas.”from the chapter
- 37Spiral ShadowSpiral Shadow of 2010 follows the same multi-legged ouroboros through earth and fog.from the chapter
- 38UltravioletUltraviolet (2013) and Exhausting Fire (2015) give that creature wings and usher it into the clouds.from the chapter
- 39Exhausting FireUltraviolet (2013) and Exhausting Fire (2015) give that creature wings and usher it into the clouds.from the chapter