{"id":220367,"date":"2021-07-08T00:01:00","date_gmt":"2021-07-08T04:01:00","guid":{"rendered":"https:\/\/25yearslatersite.com\/?p=220367"},"modified":"2024-01-24T23:53:18","modified_gmt":"2024-01-25T04:53:18","slug":"coming-from-panteras-the-great-southern-trendkill","status":"publish","type":"post","link":"https:\/\/tvobsessive.com\/2021\/07\/08\/coming-from-panteras-the-great-southern-trendkill\/","title":{"rendered":"Coming from Pantera’s The Great Southern Trendkill"},"content":{"rendered":"

Many won\u2019t make it far beyond the opening scream of The Great Southern Trendkill<\/em><\/a>. Still, those who endure, let alone enjoy that ear drum eradicating intro will never be the same. It opens with a primal cry which seems defiant, but as the record progresses, songs reveal a terrible sadness beneath the rage. A lyrical vivisection ensues from start to finish, and though ferocious instruments make it a thrill, what\u2019s heard is exactly why heavy metal possesses an underappreciated depth.<\/p>\n

Even after 25 years, the album is a merciless display of metal combining several genres into one epic record. However, it contains moments of brutal honesty that border on a strange softness. As such, Pantera<\/a>\u2019s The Great Southern Trendkill<\/em> is an intensely affecting album—the musical equivalent of a meat hook that gives a listener the means to rip open others as well as themselves. Not to mention a way, albeit grim, of holding up when falling down seems the only option—impaled and hoisted off the killing floor.<\/p>\n

I didn\u2019t grow up in a house that welcomed the hard stuff. Although my father enjoyed Elvis<\/a>, he drew the line at any rock \u2018n\u2019 roll after The King. He often subjected me to documentaries like Geraldo Rivera<\/a>\u2019s Devil Worship: Exposing Satan\u2019s Underground<\/em><\/a>. Satanic panic junk food depicting \u201cmetalheads as blood drinking<\/a>, graverobbing, sacrilegious hooligans.\u201d Heavy metal didn\u2019t factor into my parents\u2019 vision of my future, especially Mom who, on her death bed, wanted me to be Pope. They never understood the allure of this atavistic, aggressive music. To be honest, neither did I at first, partly because that meant admitting things about myself I didn\u2019t want to.<\/p>\n

Metal is a genre for people who never felt powerful. Those who grew up outcast, without hope, and angry. It\u2019s a sound-path to confidence and self-respect as well as the sonic key to the land of misfits. Beloved bands weave loners into a legion, sometimes connected across borders. I don\u2019t speak Japanese, but someone from Tokyo<\/a> singing Pantera shares a common tongue.<\/p>\n

\u201cStep aside for the Cowboys from Hell!\u201d<\/p><\/blockquote>\n

\n
\n
\n
<\/div>\n<\/div><\/div>\n<\/p><\/div>\n

Dave Mustaine<\/a> once said, \u201cIf Elvis Presley<\/a> released the body and Bob Dylan<\/a> released the mind, we\u2019re releasing whatever\u2019s left: all the stuff that people would rather overlook.\u201d<\/p>\n

My neighbor first exposed me to Pantera. He thought I\u2019d enjoy the band, so passed me a cassette entitled Vulgar Display of Power<\/em><\/a>. He essentially tossed a flare into a pool of gasoline.<\/p>\n

In a way, I lucked out. It was roughly 1998. By then Pantera had already released four albums. Technically, they put out eight going all the way back to 1983<\/a>. However, many fans mark Cowboys from Hell<\/em><\/a> as the real beginning. That\u2019s when the band nailed the groove-oriented sound<\/a> they\u2019d become synonymous with. The point being, I didn\u2019t have to wait for new records. I found a deep rabbit hole to dive down. And at the bottom, in a razor wire wonderland, I discovered The Great Southern Trendkill.<\/em><\/p>\n

The difference between every Pantera album is an obvious escalation. Each intensifies bringing new degrees of brutality yet does so with a smooth groove keeping everything musical. This isn\u2019t just ham-fisted drums and speed chugs. There\u2019s a musicality missed by those who turn up their nose.<\/p>\n

Guitarist Dimebag Darrell<\/a> often utilized simple riffs to create concrete crushing grooves but could shift into complex shreds and solos with effortless ease. Vocalist Phil Anselmo<\/a> quickly evolved from a piercing falsetto howler into a gravely snarler yet kept both tools on him. Meanwhile Vinnie Paul<\/a> provided more than mere beats, his drums stand out as distinctive as any guitar lick. Finally, bassist Rex Brown<\/a> brought a dancing jackhammer into the mix.<\/p>\n

\u201cYou keep this love!\u201d<\/p><\/blockquote>\n

\"Pantera
Phil Anselmo singing<\/figcaption><\/figure>\n

I\u2019ll never forget the first time I heard The Great Southern Trendkill<\/em>. I was sitting in a car with a young lady. She wanted to show me some of her favorite songs. So, we slipped away from friends to be alone in a dark garage. After a bit of Slayer<\/a>, she opened a jewel case adorned with a rattlesnake and slid a disc into the slot. Looking back, there\u2019s a romcom quality to the whole scenario. Two teens attracted to one another; avoiding awkward conversation by letting the music speak for them. That is to say, Phil Anselmo bellowing like an angry bear while the rest of Pantera sonically broke our bones. Every love affair should start so intimately.<\/p>\n

Besides my neighbor, she was the first person I met who enjoyed Pantera. Many of the metalheads I knew preferred Anthrax<\/a>, Metallica<\/a>, or the burgeoning nu metal scene<\/a>. Granted, I liked those bands too, but I never really got a chance to listen to what I loved with another fan. It allowed the opportunity to get a little introspective.<\/p>\n

There\u2019s often a causality dilemma when it comes to music and personality. Like the chicken or the egg, did my personality attract me to heavy metal or did the music make me the way I am? I\u2019m reminded how Deftones<\/a> guitarist Stephen Carpenter<\/a> once referred to Meshuggah<\/a> as the \u201cquantum physics of music<\/a>.\u201d It calls to mind thought experiments such as Schr\u00f6dinger\u2019s Cat and Wigner\u2019s Friend<\/a>. Essentially, the thinking is that a state of being doesn\u2019t exist until observed and music is a way of observing one\u2019s self.<\/p>\n

\u201cNow you\u2019re living through me.”<\/p><\/blockquote>\n

\"Drummer
Vinnie Paul and Phil Anselmo in “I’m Broken”<\/figcaption><\/figure>\n

The unrelenting beginning to The Great Southern Trendkill<\/em> is both invitation and warning. The titular track and second song \u201cWar Nerve\u201d constitute a polemic, borderline screed, against the perceived enemies of Pantera. Specifically, the way the music industry and critics seemed disinterested in metal.<\/p>\n

Record companies at the time, motivated by grunge\u2019s commercial success, often pushed for a softer sound. According to Sodom<\/a> frontman Tom Angelripper<\/a>, \u201cMany bands changed their music<\/a>\u2026 they got pressure from labels to sell more and get a commercial direction.\u201d Consequently, thrash metal monsters like Testament<\/a> put out more melodic, accessible albums like their 1992 record The Ritual<\/em><\/a>. Granted, they switched to a harder sound on their follow up Low<\/em><\/a>. However, according to lead singer<\/a> Chuck Billy<\/a>, the \u201cangry record\u201d ended up getting them bounced out of Atlantic Records<\/a>. As Metallica appeared to abandon thrash<\/a> with albums like Load<\/a><\/em> and Reload<\/em><\/a>, it reminded many in the metal community of their outsider status.<\/p>\n

To someone who responds to such music, the perception of metal as unwanted feels like society reaffirming it has no interest in you. This fueled the seemingly contradictory nature of a band like Pantera\u2019s success. They claimed to be part of a maligned movement even as they sold millions of records. Their album Far Beyond Driven<\/a> <\/em>hit number one on arrival<\/a>. It seems like saying they were losing while sweeping in arm loads of gold. Yet, the reason they could reap such rewards is because their music spoke to most of the metal tribe.<\/p>\n

Still, the lyrics on The Greath Southern Trendkill<\/em> aren\u2019t just acid spewed at critics and a greedy industry. At one point in \u201cWar Nerve,\u201d Anselmo growls, \u201cF*ck myself, don\u2019t leave me out.\u201d Though the line is delivered with snarling swagger, it\u2019s a revealing instance of self-loathing. It signals the all-consuming nihilistic anger that encompasses the album. Since, at the end of the day, you can\u2019t hate everything without hating yourself.<\/p>\n

In addition, it opens the door on interpretation. Pantera may\u2019ve been railing against the media, but the sentiment is resistance to judgmental individuals. Lyrics like \u201cIt\u2019s forcing you down\/And it\u2019s grinding against you\u201d resonate with anyone who never fit in.<\/p>\n

That said, when Anselmo growls to \u201clet the war nerve break\u201d it\u2019s simultaneously a call to arms and a grim acceptance pressure inevitably causes a snap. It\u2019s a song for the broken bottles who can\u2019t hold things in anymore. All they can do is cut.<\/p>\n

\u201cDrag the waters some more.\u201d<\/p><\/blockquote>\n

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<\/div>\n<\/div><\/div>\n<\/p><\/div>\n

As musician Moby<\/a> observed, the lyrics to The Great Southern Trendkill<\/em> are a \u201cvituperative expression<\/a> of anger and rage.\u201d Bitter and abusive lines lurk throughout the record and paraphrasing one track\u2019s title sums it up best. A listener is sandblasted, stripped of any fa\u00e7ade, and left with no choice except raw emotional reaction. While anger is obvious, sadness abounds in songs like \u201c10s\u201d, \u201cSuicide Note pt. 1\u201d, and \u201cFloods.\u201d Regret pervades the tracks \u201cLiving Through Me (Hell\u2019s Wrath)\u201d and \u201c13 Steps to Nowhere.\u201d Yet, a melancholy joy exists thanks to oscillations in tone.<\/p>\n

Consider the two-punch combo of \u201cSuicide Note pt. 1 and 2\u201d. The first is an acoustic, I dare say anti-ballad, yearning for death. A somber reflection on a life aimed at the grave. The second part, however, violently rejects notions of suicide<\/a> and curb stomps any romanticization. Where before Anselmo crooned, he now screams, \u201cCowards only try it\/Don\u2019t you try to die.\u201d<\/p>\n

Similar shifts exist within the instruments as well. The titular track is a machine gun blast that eventually cools into a bluesy groove. Drums in \u201c13 Steps to Nowhere\u201d provide a marching beat then skull thumping double kick. A walking bassline leads a listener steady on through the harshness of \u201cLiving Through Me (Hell\u2019s Wrath).\u201d That same bass assists the guitar on \u201cFloods\u201d which contains a soaring metal solo, easily one of Dimebag\u2019s best<\/a>; the kind of music one expects to hear when epiphanies hit, and life gains a semblance of sense. But right afterward is the blistering onslaught of \u201cThe Underground in America.\u201d<\/p>\n

Overall, masterful instrumentation complements lyrical content. Each enhances the other making the whole more meaningful. The Great Southern Trendkill<\/em> then serves as a validation of all the dark notions swirling in someone\u2019s head. Though critics like Steve Appleford<\/a> might regard the record as a monotonous soundtrack to a little boy\u2019s tantrum<\/a>, the gritty realism appealed to metalheads like myself. Not simply because we could discern the instrumental complexity critics smugly ignored, but because it literally sang to the soul.<\/p>\n

The record and its sales basically said you are not alone. That these feelings of anger, isolation, depression, and self-loathing are, unfortunately, normal. Screaming along with Anselmo and headbanging to Rex, Vinnie, and Dime offered a kind of catharsis. As I sat in that garage listening with another member of the lost and the damned, it couldn\u2019t\u2019ve been clearer: the world is a terrible place, but its horrors, if not conquerable, can be endured.<\/p>\n

“Cemetary Gates”<\/p><\/blockquote>\n

\"Guitarist
Dimebag Darrell shredding<\/figcaption><\/figure>\n

In December 2004, my Dad called me up. He asked if I had seen the news. No idea what he meant, I asked why, and he informed me that Darrell \u201cDimebag\u201d Abbott had been murdered on stage. A deranged fan shot him<\/a> during a show in Columbus, Ohio. One of metal\u2019s most significant guitarists was gone forever.<\/p>\n

My Dad asked, \u201cHow many guys are in that Panera [sic<\/em>] band?\u201d<\/p>\n

I told him four.<\/p>\n

He laughed, \u201cOne down, three to go.\u201d<\/p>\n

That night I went to a bar near my apartment in Chicago. I sat for a long while listening to Pantera CDs and drinking whiskey by myself. It\u2019s an odd thing feeling a sense of loss over what\u2019s essentially a stranger. Knowing the man\u2019s music didn\u2019t make us friends. Still, I couldn\u2019t escape the absence.<\/p>\n

Furthermore, it closed the book on Pantera. By then the band had dissolved<\/a> but the possibility of future music, at the least the hope for more, lived in every fan. After all, musicians have been known to reunite. With Dimebag dead, there\u2019d be no reunion.<\/p>\n

Any optimism glimmering otherwise vanished when Vinnie Paul passed away<\/a> on June 22, 2018. By then I was living with my Dad, taking care of him due to his declining health. Perhaps because of that, decrepitude and death creeping up on the old man, he responded very differently to the drummer\u2019s demise. My reaction, however, remained much the same.<\/p>\n

The past is rarely alive. The closest it feels to still being around stems from those things intertwined with memories. Familiar music is one of the most expedient means of stirring nostalgia<\/a>, and when its creators die, it triggers a whole reflection on all the instances that music connects to<\/a>. It\u2019s hard for memories not to get a little bittersweet when someone contributing to the soundtrack will never add another song. In a way, the past dies with them. At the very least, it feels a little less alive.<\/p>\n

Even the fury of The Great Southern Trendkill<\/em> can\u2019t resurrect the dead. At best, it can only summon ghosts. And sadly, although those specters visit until the record stops, they have nothing new to say.<\/p>\n

\u201cI Can\u2019t Hide.\u201d<\/p><\/blockquote>\n

\"Man
Vulgar Display of Power<\/figcaption><\/figure>\n

It\u2019s tempting to ignore the elephant in the room. Essentially, accusations of racism have orbited Pantera for years. Phil Anselmo\u2019s actions over the years haven\u2019t help dissuade such notions. For instance, the time he threw up a white power salute<\/a>. Although he apologized for the incident<\/a>, it isn\u2019t the only thing leaving a bad taste.<\/p>\n

The Confederate Flag adorned a lot of Pantera merchandise. During live shows, it flashed over the stage in laser light displays. When a hard push started for a nationwide end to the flag\u2019s use, Vinnie Paul seemed to lament what he called a \u201cknee-jerk reaction<\/a> to something that happened.\u201d Given when he made the statement, that something<\/em> provoking the knee-jerk<\/em> was probably white-supremacist Dylan Roof murdering nine African Americans<\/a>.<\/p>\n

Oddly enough, Anselmo commented on the flag<\/a> saying, \u201cThese days, I wouldn\u2019t want anything to f*cking do with it.\u201d He also expressed regret for having used it in the past. Still, there\u2019s an argument to be made that The Great Southern Trendkill<\/em> carries an \u201cimplied subtext<\/a>\u201d about \u201cmoving too far towards a restrictive PC culture.\u201d As Saby Reyes-Kulkarni<\/a> wrote, \u201cOne has to wonder what else was on [Anselmo\u2019s] mind that he didn\u2019t have the guts to say flat-out.\u201d<\/p>\n

According to Dimebag Darell, the song \u201cDrag the Waters<\/a>\u201d is about \u201ca lifetime of dealing<\/a> with people that you can’t tell\u2026 what their motives really are. You’ve got to drag the waters to get to the bottom and find out the truth.\u201d<\/p>\n

I think many fans are sensitive to this issue because of a potential guilt by association. If Pantera is racist, even in part, there\u2019s an implication that their fans, at the very least, are okay with that. Consequently, fans aren\u2019t just defending the band but themselves when they argue against such accusations. However, instead of embracing fallacious arguments like heritage, not hate<\/a>, perhaps a better stance might be admitting what seemed acceptable was always a mistake. That even if Phil is simply a fried edgelord with tasteless jokes, no one is laughing.<\/p>\n

If metal is the music of rebellion, it can\u2019t be afforded blind acceptance. Any deference risks compromising important principles. Furthermore, it\u2019s not so much about censorship as offering the opportunity for someone to be better. And acknowledging imperfections isn\u2019t a weakness. It\u2019s the very fearlessness heavy metal is supposed to inspire.<\/p>\n

\u201cGoddamn Electric\u201d<\/p><\/blockquote>\n

\"Dimebag
Revolution remains my name.<\/figcaption><\/figure>\n

On Pantera\u2019s final album Reinventing the Steel<\/em><\/a> there\u2019s the line, \u201ca part of me that\u2019s always sixteen.\u201d Sung on \u201cGoddamn Electric,\u201d it\u2019s a celebration of heavy metal. From wild tunes to unapologetic hedonism, the track glories in the eternal youth that music provides. Despite the screams and rusty snarls, it\u2019s actually a very happy song. Just press play and in a way, the past is alive again.<\/p>\n

By contrast, The Great Southern Trendkill<\/em> is the soundtrack to a psycho holiday. Though the art of shredding is never more masterful, the album is a heavy metal nail bomb. At a glance, it seems to reconnect a listener with psychosis and despair. However, revisiting the past shouldn\u2019t be all sunshine.<\/p>\n

When I listen to this album, I get a chance to remember who I was and reflect on the ways I\u2019m not sixteen anymore. The problem with nostalgia is a tendency to wallow in bygone glory days. Comforting as those memories may be, those moments don\u2019t exist anymore. Sure, there were quality times, headbanging around a keg while blasting tunes, but there were darker instances as well. Ignoring them makes for an incomplete picture and that portrait is of a fractured young man, crippled by mental illness, raised to be submissively silent. I like to remember that person because I\u2019m not him anymore.<\/p>\n

Albums like The Great Southern Trendkill<\/em> offered an outlet, a means of self-expression I lacked in my youth. Rather than explain things, just play a certain song. Even its darkest elements remind me of where I\u2019ve been as well as what I\u2019ve grown beyond. At sixteen, its aggressive insanity felt like an emergency exit in a burning building. Nearing forty, it takes the shape of a warning sign.<\/p>\n

Now, that said, not every playthrough is a visit to memory lane. Sometimes a song is just a song. It puts electric in a listener\u2019s veins and a swagger in their step. But it\u2019s good to know hearing The Great Southern Trendkill <\/em>is a way to remember where you come from. \t<\/p>\n","protected":false},"excerpt":{"rendered":"

Many won\u2019t make it far beyond the opening scream of The Great Southern Trendkill. Still, those who endure, let alone enjoy that ear drum eradicating intro will never be the same. It opens with a primal cry which seems defiant, but as the record progresses, songs reveal a terrible sadness beneath the rage. A lyrical […] More<\/a><\/p>\n","protected":false},"author":205,"featured_media":220369,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6158],"tags":[8626,6423],"yoast_head":"\nComing from Pantera\\'s The Great Southern Trendkill | 25YL<\/title>\n<meta name=\"description\" content=\"Reflecting on how Pantera's most ferocious album, The Great Southern Trendkill, defines a person and the upside to dark nostalgia.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tvobsessive.com\/2021\/07\/08\/coming-from-panteras-the-great-southern-trendkill\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Coming from Pantera's The Great Southern Trendkill\" \/>\n<meta property=\"og:description\" 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