Eyehategod — one of the filthiest, scummiest, most legitimately and awesomely fucked-up bands to ever walk the earth — played the Sonar in Baltimore, MD last Thursday night, and MetalSucks’ own Queen of Photography, Alyssa Lorenzon, was there to capture the madness. These pictures are so intimate you can practically smell the weed on Jimmy Bower’s breath. Check out all of Alyssa’s awesome pics after the jump! And don’t forget that you can watch a video of Eyehategod playing a new song live right here.

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I know I’ve written this phrase a few times in the past, but rarely is it so true: Phil Anselmo needs no introduction. You know who he is. You wanna read this interview. Period.

I will give you a little taste of the topics Mr. Anselmo and myself recently discussed via phone: his label, Housecore Records, and his upcoming autobiography, which will be co-authored by MetalSucks’ own Corey Mitchell. I did not utter the words “Pantera”or “Dimebag” even once, even after Phil did, because, well, what’s the point? The guy gets asked about Pantera literally all the time. It’s not like I was gonna be the interview where he suddenly slipped-up and revealed some new piece of information.

Luckily for you guys, Anselmo still has a lot to say even when he’s not talking about one of the most famous metal bands of ever. And so without any further bullshit…

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Boasting a resume that features members of Pantera more prominently than any Nashville session players, multi-instrumentalist Hank Williams III has defiantly cultivated a career and an image in stark contrast to the country roots evoked by his iconic namesake. Though hardly abandoning his heritage, the grandson of the honky tonk pioneer continues to mystify and enthrall with this, the first “official” release from this band.

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Phil Anselmo isn’t even the vocalist for his latest project – he’s the guitarist. He left the front man duties to Eyehategod’s fresh-from-prison Mike Williams, and it was a smart move: Arson Anthem – the band and the album – is a knuckle-scraping punch of aggression and hostility, and outside the warmth of Anselmo’s spotlight, I suspect it will only find its way into the hands of those that will really appreciate it.

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