Down - NOLA (1995)^{Release ID: 1866}

I hadn’t given Down a chance before listening to this, so I wasn’t sure what to expect. Mostly, I didn’t realize how strong the Southern Rock element there would be. I think it’s debatable how much of a Stoner Metal record this is. In fact, I wonder if it would make the list if not for two songs (although “Jail” sounds like Planet Caravan, so I guess that counts). That being, this is GODDAMN good shit. I think it kind of comes down (no pun intended) to whether or not you can hang with the Deep South vibe or not. Most of the tracks are really well developed and elaborate with lots of hooks to keep things interesting while still keeping the format on ground base. Imagine “Saturday Night Special” by Lynyrd Skynyrd but put through the sludge machine. Say what you will about Phil Anselmo, the guy’s got a hell of a range and I challenge you to find me a better vocalist of his style. “Eyes of the South” is exactly what it sounds like. Dirty, sweaty, roughneck shit for driving drunk off road and getting devoured by mosquitoes in 110 degree heat. I think you get the idea. I guess I’d pick “Lifer” if I had to choose a favorite. I don’t like Pray For the Locust though, sounds like they we’re trying to hard do a light instrumental like Sabbath would do (think “Fluff.”) Other then that, Hell yeah boy.  

Coming off of the cowboy trailblazers of Groove Metal, Phil forms a supergroup and establishes another new genre: Southern Metal. While not the first album in this style, NOLA definitely solidified the genre, which already took immense influence from Pantera’s Texan foundation.

This album has a much more traditional sound than what Pantera were doing at the time, with Stoner groove and Heavy Metal riffs, and a bit of Sludge in the tones and themes. All of these traits would become common in the genre.

The problem with this album for me (like with almost any Stoner album) is that it doesn’t really have any mood, it’s just riffs and grooves for the sake of it. The lyrical themes are quite dark, but the fun jamming sound of the album just take their power away. The music is proficient and a few of the riffs are catchy enough, and Phil sounds great, but the album doesn’t evoke anything more than that. The best riffs like those found at the beginning of tracks “Hail the Leaf” and “Losing All” are mitigated by chuggy, boring midsections that add nothing to the songs.