The Great Southern Trendkill [PA]

Performer: Pantera
Engineer: Aaron Barnes; Sterling Winfield; Terry Date; Ulrich Wild; Vinnie Paul
Producer: Pantera; Terry Date; Vinnie Paul
Distributor: WEA (Distributor)

Notes: Pantera: Philip Anselmo (vocals); Dimebag Darrell (guitar, background vocals); Rex (bass, background vocals); Vinnie Paul (drums, background vocals). Additional personnel: Big Ross (keyboards); Seth Putnam (background vocals). Recorded at Chasin Jason Studios, Texas and Nothing Studios, New Orleans, Louisiana. "Suicide Note Pt. I" was nominated for a 1997 Grammy Award for Best Metal Performance. Pantera's fourth major-label album is as dementedly metallic as anything the band has done. Over the years, this band has built a massive following with its adroit combination of guitar virtuosity that rivals Metallica's and an attitude as dark as Nine Inch Nails'. Philip Anselmo's vocals for THE GREAT SOUTHERN TRENDKILL were recorded at Trent Reznor's Nothing Studios, and they are positively demonic. They perfectly complement Dimebag Darrell's thunderous and dexterous guitar work. Vinnie Paul's ferocious, double-kick drumming is the final garnish on Pantera's infernal sound. Pantera may be the definitive modern metal band. Personnel: Phil Anselmo (vocals); Diamond Darrell (guitar, background vocals); Big Ross (keyboards); Vinnie Paul (drums, background vocals); Rex Brown (background vocals). Audio Mixers: Terry Date; Vinnie Paul. Recording information: Chasin Jason Studios; Nothing Studios, New Orleans, LA. Photographers: Zig Leszczynski; Joe Giron. Thankfully, Pantera has stopped attempting to outdo each successive album in terms of start-to-finish intensity, but that doesn't mean they don't try in spots. The Great Southern Trendkill is burdened with passages in which Phil Anselmo's vocals cross the line into histrionics, making the band's trademark intensity sound dull, forced, and theatrical rather than sincere. The lyrics, which reached their apex with Vulgar Display of Power's focus on personal politics and integrity, have degenerated into half-baked rants against drugs and pop-culture media. But Trendkill is partially redeemed by trading Pantera's usual pound-then-pound-harder approach to albums for a greater variety of tempos and moods. Dimebag Darrell, while mostly sticking to his familiar riffing style, does coax some intriguing, unexpected sounds from his instrument. Ultimately, though, the ballads and slower tracks ("10's," "Suicide Note, Pt. 1," and "Floods") provide the album's most chilling, memorable moments, and rank with their best material. Longtime Pantera fans will find plenty to enjoy here, and the band's expanding range bodes well, but overall, Trendkill is an inconsistent outing. ~ Steve Huey

Spin (7/96, p.96) - "...mature speedmetal and perfect summer fun: twisted power ballads, rap-style toasting, almost radio-worthy melodies, plus all the right jackhammer drum jolts, wrestler bellows, and guitar lurch..." Melody Maker (5/25/96, p.49) - "...It makes my brain hurt, my eyes water and my genitalia retract like a startled turtle. I cannot think of higher recommendation, considering the kind of album it is. If it made me feel all warm and gooey or tearful and lovelorn, then it would be a pitiful failure by its own lights..." RIP (7/96, p.14) - 5 (out of 5) - "...This album is tight and well thought-out, and as a result it goes from strength to savage strength..."

After a false start as a 1980s glam-metal band, Pantera reinvented itself as a fierce thrash combo for 1990's landmark album COWBOYS FROM HELL. The Texan band distinguished itself by offering up its trademark "power groove" sound--a potent, slowed-down version of the typically break-neck speed-metal style. The dense, crushing result served as a foundation for frontman Phil Anselmo's snarl-to-a-scream voice. Although the group became immensely popular in the early '90s, Anselmo nearly died in 1996 from a heroin overdose, and Pantera didn't record in the studio again until 2000. With Anselmo pursuing a number of side projects (including Down and Superjoint Ritual) and the other band members seeking different musical outlets as well, Pantera called it quits in 2003.

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