Review: Down, "Down IV: Part 2"

On this second in a series of EPs which will eventually add up to Down’s fourth studio album, the band continues to dish out the same Sabbath-inspired punishment that marked the first EP released in late 2012.

Nowhere is that more evident than fourth track “Conjure,” which follows the Sabbath template to the letter. The eight and a half minute track opens with a ten-ton, doomy slab of a droning riff that probably has Tony Iommi hitting his lawyer’s speed dial right about now. Then Phil Anselmo (Pantera) comes in on vocals, also sounding a bit Ozzy-ish, at least on those first lines. Then about halfway through, guitarist Pepper Keenan (Corrosion of Conformity) kicks the speed up with a galloping break in the old Sabbath tradition. Finally, they settle back into that heavy dirge to finish things out.

Stuck in My Head: Down, "On March the Saints"

While most folks probably went for something like the Rebirth Brass Band's version of "When the Saints Go Marching In" after the New Orleans Saints advanced to the Super Bowl for the first time on Sunday, you know I had to reach for something a little heavier. So after Garrett Hartley's kick sailed through the uprights, I cranked up this tune from Down's 2007 album "III: Over the Under."

No, the song is not about the football team, which becomes readily apparent with a listen to the lyrics. Written around the time of the team's 2006 run to the NFC Championship, an effort that energized the city and played a big role in raising spirits in the area following Hurricane Katrina, it uses the Saints as a clever metaphor for the people of New Orleans. That, in itself, is interesting since singer Phil Anselmo isn't exactly known for the use of metaphor in his lyrics ... or any other literary tool for that matter.

Don't get me wrong. This isn't high art. It certainly has its lyrical challenges, but the sentiment of the song comes through in a very personal way. To me, "On March the Saints" perfectly captures the atmosphere and struggle in New Orleans in the years since Katrina. The lyrics and music capture the uncertainty and chaos in the wake of the storm. The song expresses the hopelessness and devastation of the storms. At the same time though, there's a definite joy there, a feeling of triumph in overcoming the challenges.

Of course, it doesn't hurt that the song features a great, sludgy slab of a guitar riff, and an undeniable heavy groove.

I'll understand if most fans turn to "When the Saints Go Marching In," or maybe U2's "The Saints are Coming" performance from the reopening of the Superdome in 2006 to celebrate. I'll probably listen to both a few times in the coming weeks. But for me, the primary soundtrack leading up to the Super Bowl is going to include a heavy dose of "On March the Saints." Here's hoping a little of the power and the attitude of the song rubs off on our Saints, and I can crank it again in honor of a Super Bowl win in a couple of weeks.

Best of '07: 1. Down, "Over the Under"

I'll admit it took me a little longer to come around to New Orleans supergroup Down's latest record than it did for their first two. Initially, I missed those big hooks from their second record (the ones that some fans thought were a little too commercial.) Then, there was the mix on this record, which at times is as muddy as the bottom of the southern Louisiana bayous the music crawled out of. After a week or so of listening, though, I couldn't help but like it.

At its best "Over the Under" delivers exactly what fans have come to expect since the band's 1995 debut "NOLA" - a very organic record that's part stoner rock, part doom and heavy as hell. The sound here is equal parts Southern-fried groove, ominous Black Sabbath slab riffs and psychedelic Jimi Hendrix fuzz. Blues influence crops up throughout the record in the grooves and lead guitar licks, and you'll even hear a touch of country twang on the song "Never Try" - where Phil Anselmo paraphrases Yoda in the lyrics with his "Never try, never try/ you either do it or don't waste your time."

The heart of this record, as with the first two Down offerings, are the monster riffs and head-bobbing grooves of guitarists Pepper Keenan and Kirk Windstein layered over the solid rhythm section of Rex Brown and Jimmy Bower. Anselmo brings a world-weary, often agonized delivery that reflects the darkness of much of the subject matter. His lyrics are very personal on this record, if on occasion a bit incoherent - take, for example, the line "Partake no tangible out in tomorrow" from "On March the Saints." Huh?

Despite the occasional head-scratcher line, though, the album delivers lyrically perhaps a little more than the previous two records. There's a more real and gritty feeling to Anselmo's approach to the lyrics, and truth rings through, particularly on the song"Mourn," which seems to address his feelings at being blocked from former bandmate "Dimebag" Darrell Abbot's funeral due to a feud with the guitarist and his brother Vinnie Paul. "Hotel room of doom/ I can't find a clue/ confusion, broken hearted woe/ sheets and pillows soaked/ telephone seems broken/ I'm calling crucified/ blacklisted, no reply..."

It's also a record that tracks both the misery and resilience of the city of New Orleans in the aftermath of Hurricane Katrina. Most notably "On March the Saints" and "Beneath the Tides," two of the stronger offerings on the record.

There are misses here and there on the record. The "Planet Caravan"-sounding "His Majesty the Desert," which serves as more of an intro to "Pillamyd" than an actual song just doesn't quite capture the same atmosphere of the Sabbath classic, despite some spacey guitar work. And "Pillamyd" itself, despite being the fastest track on the record, sounds kind of out of place among the other work here. Still, the bouncing, undeniable grooves of songs like "The Path" and "N.O.D." more than make up for the few misses.

Despite my initial misgivings, after a few weeks of listens, I can say Over the Under easily ranks as one of, if not the best record of the year, and it also ranks as Down's most honest and frank offering to date. Perhaps with the upheaval and challenges of the band's previous years in the past, we'll start to see more frequent offerings from the band. I, for one, would welcome it.

Hear a clip of "On March the Saints."

Hear a clip of "Mourn."

Read my review of Down "II."

Get "Over the Under."

Second opinion: It was really a toss-up between this record and the new Soilwork for the top of my list. Both are great, and both have been alternating in my CD player basically since they came out. In the end, the Southern-fried grooves, loyalty to my home state and "On March the Saints" won out.

Review: Down -- "Over the Under"

I'll admit it took me a little longer to come around to New Orleans supergroup Down's latest record than it did for their first two. Initially, I missed those big hooks from their second record (the ones that some fans thought were a little too commercial.) Then, there was the mix on this record, which at times is as muddy as the bottom of the southern Louisiana bayous the music crawled out of. After a week or so of listening, though, I couldn't help but like it.

At its best "Over the Under" delivers exactly what fans have come to expect since the band's 1995 debut "NOLA" - a very organic record that's part stoner rock, part doom and heavy as hell. The sound here is equal parts Southern-fried groove, ominous Black Sabbath slab riffs and psychedelic Jimi Hendrix fuzz. Blues influence crops up throughout the record in the grooves and lead guitar licks, and you'll even hear a touch of country twang on the song "Never Try" - where Phil Anselmo paraphrases Yoda in the lyrics with his "Never try, never try/ you either do it or don't waste your time."

The heart of this record, as with the first two Down offerings, are the monster riffs and head-bobbing grooves of guitarists Pepper Keenan and Kirk Windstein layered over the solid rhythm section of Rex Brown and Jimmy Bower. Anselmo brings a world-weary, often agonized delivery that reflects the darkness of much of the subject matter. His lyrics are very personal on this record, if on occasion a bit incoherent - take, for example, the line "Partake no tangible out in tomorrow" from "On March the Saints." Huh?

Despite the occasional head-scratcher line, though, the album delivers lyrically perhaps a little more than the previous two records. There's a more real and gritty feeling to Anselmo's approach to the lyrics, and truth rings through, particularly on the song"Mourn," which seems to address his feelings at being blocked from former bandmate "Dimebag" Darrell Abbot's funeral due to a feud with the guitarist and his brother Vinnie Paul. "Hotel room of doom/ I can't find a clue/ confusion, broken hearted woe/ sheets and pillows soaked/ telephone seems broken/ I'm calling crucified/ blacklisted, no reply..."

It's also a record that tracks both the misery and resilience of the city of New Orleans in the aftermath of Hurricane Katrina. Most notably "On March the Saints" and "Beneath the Tides," two of the stronger offerings on the record.

There are misses here and there on the record. The "Planet Caravan"-sounding "His Majesty the Desert," which serves as more of an intro to "Pillamyd" than an actual song just doesn't quite capture the same atmosphere of the Sabbath classic, despite some spacey guitar work. And "Pillamyd" itself, despite being the fastest track on the record, sounds kind of out of place among the other work here. Still, the bouncing, undeniable grooves of songs like "The Path" and "N.O.D." more than make up for the few misses.

Despite my initial misgivings, after a few weeks of listens, I can say Over the Under easily ranks as one of, if not the best record of the year, and it also ranks as Down's most honest and frank offering to date. Perhaps with the upheaval and challenges of the band's previous years in the past, we'll start to see more frequent offerings from the band. I, for one, would welcome it.

Hear a clip of "On March the Saints."

Hear a clip of "Mourn."

Read my review of Down "II."

Get "Over the Under."

Review: Corrosion of Conformity, "In the Arms of God"

It's been a long trip for Corrosion of Conformity from hardcore heroes in the mid-to-late 1980s to the premier purveyors of Southern sludge rock today.

Their latest album opens with a blast of Jimi Hendrix-style fuzz on the first single "Stone Breaker." That sets the tone for the rest of the album, which draws heavily on influences like Hendrix, Black Sabbath and Led Zeppelin, but puts a Southern spin on them.

The most interesting track on the album is the jazzy groove of "Dirty Hands, Empty Pockets/Already Gone." It's a little jarring among the other grungy tunes on the album, but also makes for one of the best moments.

"In the Arms of God" takes the listener on a roller-coaster ride from the anger of "Paranoid Opioid" and "War," which channel the band's hardcore roots, to the hopeful and optimistic acoustic number "Rise River Rise."

It's been five years since CoC unleashed an album on the world, but this album was worth the wait. It features the best of both sounds of the band and should please new and long-time fans alike.

Get "In the Arms of God."

Review: Down, "II"

Almost six and a half years after their first album hit the shelves, metal supergroup Down is back with a new album and a new sound.

The New Orleans-based band features vocalist Phil Anselmo and bassist Rex Brown of Pantera, guitarist Pepper Keenan of Corrosion of Conformity, guitarist Kirk Windstein of Crowbar and drummer Jimmy Bower.

The band's first album, 1996's "NOLA," was just what listeners might expect from bandleaders Anselmo and Keenan - a heavy blend of Pantera and Corrosion of Conformity. Despite the fact they only played 13 shows and got little or no radio airplay, the album took on a life of its own - selling a half-million copies by word of mouth.

Down's sophomore effort brings a little more to the table.

Even though they only have limited time to work together - "II" was recorded in 28 days - they've managed to find their own unique sound. With this album, they embrace the musical diversity of their native New Orleans.

Several songs seem a bit out of character for the band members, who all come from the heavier end of the metal spectrum.

"Learn From This Mistake" is a slow blues number, almost like a lounge tune. "Where I'm Going" is a laid-back twangy country blues song, and "Lies, I Don't Know What They Say, But..." is classy mix of soft jazz and Texas-style blues.

The strongest song on the album, "Stained Glass Cross," adds a heavy guitar to that mix. It's got a catchy, Southern-fried groove - with some tasty Hammond organ and a great lead break before the chorus.

Groove is the key word for "Down II." Almost every song on the album has it. For fans who are more interested in the heavy tunes featured on the band's debut, there's "Man That Follows Hell," "Ghosts Along the Mississippi" and "Dog Tired." All are crushingly heavy songs with down and dirty grooves.

Down's influences also play a very big role on their sophomore album.

The opening cut, "Lysergik Funeral Procession," is lifted straight from the Black Sabbath songbook, as is the chunky opening riff of "New Orleans is Dying."

They break out the Hendrix funk on the first single "Beautifully Depressed"; "Landing on the Mountains of Meggido" is an obvious homage to Led Zeppelin.

While most side projects are self-indulgent excursions with mixed results, Down doesn't fit that mold.

In fact, these metal all-stars have combined to produce an album that outshines the recent releases of their regular bands. It will be interesting to see what the future holds for them.

Get "II."