Crowbar's breakthrough from the underground came in 1993 on the strength of their self-titled sophomore album. Thanks partly to their association with producer and surprisingly popular Pantera vocalist Phil Anselmo. As well as appearances on MTV's Headbanger's Ball, and especially Beavis and Butt-Head ripping up their music videos for "All I Had (I Gave)" and "Existence Is Punishment," the band reached a fresh audience.
In 1995, with new fans in their pocket, and heavy music as popular as ever, the band issued their third album Time Heals Nothing via Pavement Music. Today, it is a landmark of their metallic legacy, showcasing their signature blend of groovy southern sludge, doom, and hardcore. The ten tracks mark a pivotal moment in the band's evolution, spiraling further into despair-filled heft while refining the abrasive, yet soulful sound that Crowbar would eventually become known for. With the inimitable Kirk Windstein's gritty vocals and crushing riffs leading the charge, Time Heals Nothing introduced a darker and sadder side of the band's music.
As famously described by the icon Butt-Head, "This music is slow and fat." Musically, Time Heals Nothing is a masterclass of smoldering sludge metal. However, they launch out of the gate with "The Only Factor" and "No More Can We Crawl" showcasing the influence of driving hardcore like Agnostic Front or Corrosion Of Conformity. Conversely, the album is laden with deep, ominous riffs that build a wall of sonic devastation a la classic doom metal such as Saint Vitus or Trouble. Each song through the middle of the record is like a rusty sentinel that eviscerates everything in its path. The rhythms plod, perfectly complemented by Windstein's thunderous guitar work and guttural croons. It is on this album that Crowbar defines their sound by creating an oppressive feeling that's oddly cathartic. It grows more menacing with each listen, making Time Heals Nothing one of the genre's staples.
Lyrically, Windstein gives an introspective touch that is a slight but welcome departure from the more straightforward, aggressive style of his previous material. Songs like the title track, "Through A Wall Of Tears," and "Embracing Emptiness" project the existential dread and darkness the band powered through in this era. The juxtaposition of heavy music with personal lyrics lent a unique sense of melancholy to Crowbar, simultaneously capturing emotional vulnerability and sonic aggression. Not familiar territory for such bruising compositions. He's well known for his vocal style and riffs, but in hindsight, Windstein bravely laid it out via his lyrics like few before him.
Time Heals Nothing solidified Crowbar's place as one of the pioneers of sludge metal, influencing countless bands within the genre and beyond. The New Orleans bands of this era are cited as the premier practitioners and innovators of the style, and rightfully so. Its crushing heaviness and deep introspection captured the band's musical and emotional maturation setting the stage for their future work. The album remains an essential release in Crowbar's catalog, both as a testament to their ability to create heavy yet soulful music and as a reminder that there's always room for reflection and growth.
- Dan Craley
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