The Great Southern Trendkill Pantera. Spotify Amazon. War Nerve Pantera. Drag the Waters Pantera. Floods Pantera. The Underground in America Pantera. These tracks will be available for purchase as "The Great Southern Trendkill Album " , as well as individual tracks on Xbox and PlayStation 3 system, and as individual tracks only on Wii. Think about the fact that the beloved Phil Anselmo recorded his vocals in another studio than the rest of the band.
The situation, therefore, was very difficult. And indeed, this record transmits all the anger and the suffering that the band felt at the time: just listen to the first 10 seconds of the initial, phenomenal, The Great Southern Trendkill. Anselmo transmits his fury with tortured screams, angry and devastated growls helped, to accentuate the violence, by the evil Seth Putnam of Anal Cunt.
Darrell tortures his Dean with deep, obsessive riffs, long bendings and, as usual, with the recognizable southern blues sound so dear to the 5 Texans. The brother Vince, on drums, is unleashed, with difficult and heavy rhythms, sometimes fast with a dominating double bass , sometimes filled with Groove sounds.
Rex, always equal, enriches the whole with his dark and heavy bass riffs. The album mixes the classic groove metal, trademark of the Texas band, with death, thrash, doom influences and a hot and sweaty sound, clear of southern matrix. The sludge matrix of the band is very evident in this album. Each song has a different sound, while the lyrics deal mainly topics like drugs, suffering, and suicide.
TGST is fast and furious, with an instrumental outro, where Darrell and his Dean seem to communicate. War Nerve is pure groove, Drag the Waters is a sort of angry version of "Walk" this is the single chosen from the group, although personally it is perhaps the "worst" of the disk, if you have to find one.
With 10's we hear even grunge influences, from Alice In Chains, with a suffered and poisonous tone. Suicide Note, Pt. The second part change radically, with a fast and telluric thrash, with an unusual riff and a beautiful chorus, with a wild Anselmo and Vinnie Paul into a state of grace.
Living Through Me is a modern and calculated thrash, with a chorus that relies on daring guitar riffs by Darrell. In the central part we hear noises and suffered voices of a never so exciting Phil Anselmo, and everything ends with a violent restart, that flows into the main riff. Floods deserve another speech, without emphasizing that alone worth buying the album. The riffs are, as always, very inspired. At the third minute the song comes on, with an electric riff, obsessive in his gait.
Everything changes abruptly, with the entry of the usual riff that repeats itself in an obsessive way, before the final discharge, with riffs, beats and thundershowers sounds. The finish is an amazing outro, worthy end of the best song of the band's career, in my opinion. Underground in America takes the obsessive groove of War Nerve and 13 Steps To Nowhere, driven by the riff that will be the main of the following song, the final Sandblasted Skin Reprise.
The band decides to close with a bang, with a fast and aggressive song. A perfect album: varied, inspired, angry. The band came to perfection, which will not be achieved in the future, accomplice to the murder of the genius Dimebag Darrell Abbott RIP.
We may remember them by turning on the CD players and enjoying this essential disc for any metal fan, in my opinion. Why not , you could ask? But, we know, nothing is perfect Though I originally got into heavy metal thanks to a collection of my father's cassette tapes of bands like Dark Angel and MegaDeth, one of the bands I truly enjoyed early on was Pantera. As time has moved on, I began to break apart this band's music, focusing on the albums as a whole as well as the songwriting approach taken.
Call it maturity or realization, but my almost fan boy adoration of Pantera has slowly subsided over the years, being replaced with a sometimes mild, sometimes excited reaction to hearing this band's music. What is present on this album seems to be a darker yet even more hostile version of Pantera. The music seems specifically designed to charge forth like a battering ram through Phil Anselmo's enemies both real and imagined. The album also showcases a more creative machine that was Pantera at this point in time, including being the band's most varied album post While "Vulgar Display of Power" and "Far Beyond Driven" could get a good thing going at times, they would also become stalled in middle of the road metal.
Both those albums were, most of the time, like placing a brick on the accelerator of a car that was suspended on a lift: sounds good, but you're never going to go anywhere. For one, the music is much more focused instead of directionless hostility. Someone already beat me to the explanation for this, which includes Anselmo's ever increasing volatile nature, accusations of rascism, increased substance abuse, internal problems within the band, so on and so forth. Phil Anselmo probably makes the biggest change in the band, putting forth some seemingly current lyrics that are relevant to this day about trends and the subversion of hipster disciples who jump on each new trend like a street walker does her clients.
The 's were a rampant time of trends, one of the most horrid in which was the mainstream's fascination with halfwit alternative rock bands of the day. Anselmo's other major contribution to this album is his change is vocal style. While "Vulgar Display" had that militant bark and "Far Beyond Driven" had that quasi-death grunts shouted from halfway across a parking lot feel, "Trendkill" finds Anselmo charging forward with shrieks more akin to his work in Superjoint Ritual.
I would argue, however, that his work here is far less nerve racking thanks entirely to the better ideas and musicianship on this record, which keeps Anselmo grounded. The record is also layered in its vocal affects, which gives songs like "13 Steps to Nowhere" and "Sandblasted Skin" a demonic feel. This comes again from the internal issues of the time, as Anselmo was not even in the same state as Rex, Dime, and Vinnie during the recording sessions.
The unusual creativity exuded on this album come in the forms of songs like "Floods," "10's," and "Suicide Note Pt. The remaining songs either fall into Pantera's usual though improved Southern groove or faster versions of such. With a song like that, it begs to know why Pantera couldn't throw in more songs like these in their time which would have undoubtedly improved "Vulgar Display" and "Far Beyond Driven. Unlike the more celebrated releases by this band, I could not find a single dud here, except maybe "10's.
Its definitely an improvement over preceeding works for this band not to mention the one that would come after it and is quite possibly the best album they put out. Songs like "Sandblasted Skin" and "War Nerve" help one to forget all about the stagnated groove fests of "Far Beyond Driven," which for some unknown reason is a more cherished album than this one.
In fact, this is the one Pantera album that never gets much respect, even though the live versions of these songs that appeared on "Official Live: Proof" were killer and the highlights of that album. Like some have already said before me, this is a Pantera album for Pantera fans and non-fans alike.
I can certainly see those who couldn't care less about this band getting into this, considering I know some who have. Its especially far removed from their other material in terms of aggressive and focused attack, yet still planted enough to win the adoration of Pantera fans. I for one continue to enjoy this album more than any other this band has put out, and recognize it as their best second only to "Cowboys From Hell" in terms of musicianship.
It would have been interesting to see Pantera continue down this road, which obviously did not happen given the step down that "Reinventing the Steel" was. I also like this album for its statements, particularly against the "hip" crowd and their trends plus against the stereotypical outlook on the Southeast U. This is all just icing on the cake for a Southerner like me, but for those who couldn't care less, I can definitely recommend this to non-Pantera fans.
Its removed from what most media outlets celebrate about this band, to the point that many Pantera fans seem to skip over it entirely. Well, I can say one thing for sure about this record: I'll never forget the day I've listened to it for the first time.
It was , I remember myself walking into a 1 hour photo and, for some obscure reason, there were some Cd's for sale in that shop, including the one I'm reviewing. Seeing that there was a snake on the cover and looked pretty badass I decided to buy it, then I went home and listened to it.
Well, my response after just 10 seconds into the first song could be translated in English as "Holy Fucking Jesus what the fuck? Ten years later I understood what this album showed me back then, something that at that time unconsciously prompted me to instantly make a copy of it on cassette for my friends to experience what I labeled "The Heaviest Album Ever". Did I really say that? Yes, but it was years and years ago. Do I still mean it? The fact with this album is that its heaviness doesn't come from how fast the songs are, or how heavy the distortion of the guitar is well, maybe just a little bit , it's not something that was thought over and then conveyed in the studio.
No, the heaviness of this music comes from the souls of the very people who wrote it and played it. The execution has little or nothing to do with it. And, for the record, I, as I bet almost everybody else out there, have in all these years listened to stuff that was played faster, louder and with heavier production and even with more layers of guitars , but nothing comes even close to the brutality of this album, the lethal dose of hate that T.
Now, I don't know what happened in the two-year time that occurred between this and its predecessor, Far Beyond Driven, but, believe me, it turned Pantera's music from the poser "let's-kick-them-asses" redneck crap that boosted them into the pantheon of sell-out MTV metal-whores along with Korn, White Zombie and all the other bitches into a genuine, mountain-sized, 40 minutes long, ugly growl of hate towards everybody and everything.
Well, this same guy is now back with a vengeance and an infected throat filled with spite and hate towards the whole fucking world and with an overwhelming desire to destroy it. He really takes on everything, from the media, to the justice system, to the low-lives and the common people. Religion, industries, families Not even himself. And if the lyrics are pure manifests of anger then the music is the most appropriate I could think of.
Dimebag Darrel was a talented guitar player, one of the most inventive in the 90's scene and one of the most original and with a distinctive sound. Yet, starting from Far Beyond Driven he dared to challenge himself and his own talent by filtering his fluid, very technical style with some more atypical, whistling, ear-raping Now, why would anyone in metal music a genre that is already more than too often referred to as "noisy" from common people, even when they are talking about Metallica and the Irons adopt such a style, when everything before was going just so well, if not because he's had enough and doesn't give a shit anymore?
The riffs are simplistic, very heavy and groove oriented, leaving more and more open space for inhuman screams and demonic guitar-noises to breathe see "Living Through Me", "Drag The Waters", "Sandblasted Skin", for example.
His best on T. Another great one is on the other semi-ballad, "10's", while a special mention goes to the bluesy southern boogie that wraps up the title track, notable.
Cherry on top of his performance is the only real ballad present on this album, "Suicide Note Pt. And, I swear, never ever has music been so in theme with such negative lyrics. Even before you read the booklet or before the singer starts singing the guitar sets already a funereal tone all over you, and you already know that this ain't gonna end in a good way The bass sound is really great, unlike other Pantera albums where you could only hear the bass in the solo section due to the fact that the band don't have a second guitar.
In this album, fortunately, Rex' bass lines are allowed their place in the spotlight along with all the other instruments; and I say fortunately because he does such a great job it would have been a shame to mix it out of the final product like had happened in the previous records. Highlights in his performance here are the guitar-bass duet in the chorus of "Living Through Me", the bass lines that accompany "Floods"' guitar solo and, in general, the fast thrashers of this album, like "Suicide Note Pt.
Vinnie Paul does a fucking amazing job on the drums. As usual. I am very proud of this guy, for the way he handles the groove so fucking tightly, for all the amazing double bass flavour that he adds here and there and for his tasteful, genuinely southern approach to tribal rhythms listen to the song "13 Steps To Nowhere" to understand what I mean.
We must note that, in this album, the guy unleashes some of the fastest beats he's ever played, especially on "Suicide Note Pt. So, in the end, I think it's safe to say that this album is a good recommendation to give to someone who wants to experience a little pain while listening to the music he loves. Especially the unrelenting screaming of Anselmo helped by Anal Cunt's Seth Putnam can result, for the first couple of listens, in a very painful experience.
I swear, these guys never stop yelling, especially during the first three songs. And so is the listener if he can't take it. A wiser fella than me once said: "If you can't stand the heat, then stay out of the kitchen! So, after 12 years I could finally share my thoughts about this album with whoever will take the time to read this.
I've done my best to retain the feelings I had upon my first listen of this album, and even though much time has passed I can say in all honesty that the story hasn't changed much: this album still manages to brutalize me every time I play it.
And I'll forever thank Pantera for it. Amongst the metalhead community, Pantera is usually considered one of those bands for inexperienced n00bs who are just getting into the metal genre. Anyone who claims that "Far Beyond Driven" is one of the greatest metal albums is lowered to about the same level as those who think koRn "used" to be a good band and those who claim that Slayer never sold out.
However, it is "acceptable" to consider "Cowboys From Hell" a good album which it was and a slightly smaller but still influential circle deem that finding that "The Great Southern Trendkill" was an unfairly overlooked and underrated album is an acceptable point of view. Personally, I don't really give a damn about following the opinions of the metal community I think Avenged Sevenfold is metal, so what?
I was quite proud of my find because at the time of the purchase, this album was out of print and not as easy to find it has since been re-released and is readily available.
It turns out that perhaps this album was hyped a bit too much, for even though there is nowhere near as much awful "groove" type stuff, this isn't that "far" removed from the previous album. The main change is in vocalist Phil Anselmo's vocal approach. He adapts a tone more similar to what he used with Down's first album, as opposed to the fierce but also tedious yelling of "Far Beyond Driven. The album actually starts off in great fashion with the title track, featuring yells from Anal Cunt's Seth Putnam.
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Whatever, by the time of Power Metal , Glaze was gone and New Orleans native Phil Anselmo, complete with big hair, was the man with the mic. After three such groundbreaking and essential albums as Cowboys… , Vulgar… and Far Beyond… Pantera were faced with something of a quandary.
Should they stick to their guns and deliver another high-octane set of brutal, headcrushing metal, or try to do something slightly different? Brothers Dimebag and Vinnie Paul were both keen on the latter, singer Anselmo favoured the former.
The great southern trendkill — Pantera. Le traduzioni di The Great Southern Trendkill Primal concrete sledge — Pantera. Hollow — Pantera.The great southern trendkill (La famosa tendenza meridionale all’assassinio) è la traccia che apre e che dà il nome all’ottavo album dei Pantera, The Great Southern Trendkill, pubblicato il 22 maggio del Formazione Pantera () Phil Anselmo – voce; Dimebag Darrell – chitarra; Rex Brown – basso; Vincent Paul Abbott – batteria.