Pantera
Vulgar Display Of Power

Here it is 3:30 in the morning. Unable to sleep, I seek relief through the expression of opinions. So, I don't know for what exact reason, I set out to review "Vulgar Display of Power" by Pantera. The album - along with Rage Against the Machine of the same year - whose sound influenced, indirectly (Sepultura) or directly (Korn - think of the similarity between the opening riff of "Good god" and those of "Mouth for War" or "Becoming" from the following album) not only the so-called nu-metal but the majority of heavy metal productions to come.

Guitars with hyper distorted and hyper compressed sound, strings tuned down a whole step, slow and groovy rhythms that at times border on funky, vocal style characterized by prolonged screams and high-pitched screams of short duration (in the accents) alternating with a clean voice in the more melodic parts. These are just some of the peculiarities represented, and the innovations brought, by their sound.

Opening track is "Mouth for war": intro with a effect of climax brought by the resolution of the dominant on the tonic, followed by a riff that includes three natural harmonics: as already mentioned an important precedent for metal riffs to come. Song recommended for those seeking energy and determination (especially in the text, deliberately dynamic). The same can be said of the following "a new level"; spectacular especially the part where Phil Anselmo screams "Don't fucking surrender! can't lose!". Thus, we come to their most famous piece, "Walk", covered by all modern Nu and Metalcore bands; a slow and groovy rhythm, blues solos played at lightning speed, screams of unprecedented forcefulness; somehow reminiscent of the intro to "Frayed ends of Sanity" by Metallica. Next track is the aggressive "Fucking hostile", with politically-oriented lyrics and a style that recalls the hardcore of the Misfits, particularly the song "Green Hell".

"This love" is the ballad of the moment, dealing with the sickest aspects of love relationships, and musically it consists of a part played in clean, perhaps influenced by grunge in its dark and decaying sounds, and a groove metal part, whose riffs feature, instead of the usual power chords, thirds intervals. The next "Rise" is an explosion of power like those seen only in "Battery" and a few other songs. Followed by "No good", "Live in a hole", "Regular people" (one of the best) and "by demons be driven", riffs with blues or funk reminiscences, often melodic singing parts, some vague rap metal experiments. Four very similar songs to each other and all equally influential for future metal bands. Finally, "Hollow", a worthy conclusion to a masterpiece, draws citations to Metallica's 3 immortal metal ballads (the clean arpeggios from "Fade to black", the groovy riff from "One", and the instrumental escape from "Sanitarium") and in my opinion surpasses them in pathos and complexity. The final part where Phil Anselmo angrily screams with God for the loss of a friend brings great emotions.