Next review: » Down - Nola
Released: 1996, Elektra Records
For the uninformed, Down is the side project of Phil Anselmo of Pantera, Pepper Keenan of Corrosion of Conformity, as well as two members of Crowbar and a member of eyehategod.
Nola combines the best of all bands into a mix of heavy groove laden songs that grab you immediately. If I could use one word to sum up this album it would be monstrous. This is due to the extremely thick guitar tones that are cranked way up in the mix (sometimes to the impediment of Phil's voice).
Phil's voice is in much better shape on this recording as compared to his last effort on Pantera's Far Beyond Driven (FBD). The uni-dimensionality of his voice seems to grow with each successive Pantera release. Gone are the Halford-like high pitched screams from the Cowboys album, as well as the melodic type of singing found on Pantera songs like Cemetery Gates and Hollow. FBD presented us with one vocal style (the Black Sabbath cover doesn't count)...over the top. While this is fine in most cases, it is still unfortunate that a vocalist with such diversity chooses to sing so one dimensional. However, on the Down album we see Phil doing a few different things. It's not quite a return to the old vocal style but there are moments that contain melody as well as his patented over the top screaming.
The C.O.C. influence is very clear throughout the album. Many of the riffs could have been on Deliverance (their latest album). While the riffs sound more like the C.O.C. style, the guitar tones are pure Crowbar. These riffs model their makers, they are fuckin' massive!! The drums are also mixed loud, something I always like.
If your looking to purchase a new cd, then think about picking up Down. If you like the bands from which the members are from, I guarantee that you will not be let down by Down.
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Released: 1995, Elektra Records
Reviewer: Michael De Los Muertos
Hidden Gem Selection
I’ve always thought Down was an interesting experiment. Pantera is a band that is as viciously hated by many and dearly loved by many others; I find myself in the latter category, but even members of the former group, to be fair, have to stop and think about Down. No, Virginia, Phil Anselmo is not the mallcore sell-out some make him out to be, and one who ever doubts that he’s had a positive, substantive contribution to heavy metal need only listen to NOLA, an album which, if not quite yet a classic, probably will become so in another five or six years.
Down is an on-again, off-again side project of Southern metallists, its core membership being Phil Anselmo of Pantera, Pepper Keenan or Corrosion of Conformity and Kirk Windstein of Crowbar. Whenever possible – which wasn’t very often – the band jammed around the grimy, beer- and smoke-soaked clubs of New Orleans in the early and middle 1990s before producing this, to date their one and only studio album, in 1995. I lived in New Orleans for three years, so I’ve been to many of those beer-drenched, smoky clubs, and I know firsthand the kind of atmosphere that Down so successfully tries to distill onto a CD. It’s a grinding, wet-sounding, downtuned kind of doomy thrash metal, fused with a kind of bleak Southern fatalism that is absolutely endemic of the New Orleans heavy music scene. One reason why NOLA succeeds so well as an album is because it captures that “grimy New Orleans” feeling in a way that even the members’ main acts (Pantera, COC or Crowbar) could never do. Imagine yourself in a stifling metal bar at 3:00 AM on a humid late August night on Magazine or Prytania Streets – NOLA puts you there. It’s truly like no other album I’ve ever owned.
The songs are all heavy, thick and moody. “Temptation’s Wings” starts out sounding almost like The Obsessed, then kicks into a thrashier but still mellow gear. You almost don’t notice when you’ve changed tracks – not because the songs sound the same (they don’t), but because the atmosphere is so steady. Say what you want about his Pantera performances, Phil Anselmo’s voice is perfect for tracks like “Lifer,” “Eyes of the South” or the final track, the anguished but defiant “Bury Me In Smoke.” None of these songs strike me as Pantera-esque. Strangely, one of the album’s high points is its one slow track, “Jail.” It absolutely reverberates with utter despair – perhaps the five most depressing minutes in the history of metal – and is the song most likely to stick in your head when the album is over. If you’ve ever wondered what a rainy winter night in Louisiana sounds like, this track will tell you.
Despite the fact that the pedigrees of its members could easily have caused this band to be labeled as a “supergroup,” there was very little that was ever flashy or bombastic about Down. The group began as simply a few guys with common ties who lived in the same area getting together to jam informally, and so they remain – despite no further releases, rumors persist of forthcoming Down albums or even some live shows in the future. As good as they are (were), part of me hopes it will never happen. NOLA captured a moment in time and a feeling whose day has probably already passed. But I think I’ll always love this album. Check it out – you may, too.
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