Sunday, February 24, 2008

Band: As I Lay Dying



Nick Hipa: Guitar
Tim Lambesis: Vocals
Jordan Mancino: Drums
Phil Sgrosso: Guitar

The members of AS I LAY DYING are the kind of musicians that refuse to be measured solely by their most recent accomplishments. The new album, An Ocean Between Us, is evidence of this fact, proving once again that these guys are not afraid to push the limits of their sound and always keep things moving. The music grabs you by the throat and doesn’t let go until the album’s finish. Building upon the foundation that AILD has laid over the past several years, growing from a small San Diego outfit slowly and deliberately into a priority national act, the band has become Metal Blade Records’ biggest sellers with an extremely devoted following. AS I LAY DYING has the goods to take it all the way and stake their claim as the metal band “ you need to know about” in 2007 and beyond.

group

A brief history lesson: AILD’s Metal Blade debut, 2003’s Frail Words Collapse, effectively introduced this indie band to the world on the strength of the catchy but brutal songs, “94 Hours” and “Forever.” The album went on to be a label best-seller, surpassing 210,000 units sold. The follow up, Shadows Are Security, further spotlighted AILD as one of most influential bands to break out of the underground metal scene. Their high-profile, marathon tour cycle found the band as one of the featured attractions on the Ozzfest 2005 side stage, then as part of the second annual Taste Of Chaos trek in winter 2006 along with Deftones and Thrice, culminating in the headlining slot on the 2006 Sounds Of The Underground tour in front of 3000-5000 people per night. Shadows has sold nearly 275,000 records to date as word of the album and the band’s electrifying live show continues to spread through their ever growing fan base, fans that simply put are in it for the long haul.

Now, with An Ocean Between Us, the stakes have been raised, the ante upped. “It may have been comfortable for us to write a similar sounding record,” admits vocalist and founding member Tim Lambesis. “The basic elements of AS I LAY DYING are there, but on the whole, we took certain songs in a new direction. We can’t always do what’s comfortable or just do more of what our fans expect. We wanted to have more depth.” To achieve the desired depth, the band wrote and recorded as though their very lives depended on it. Lambesis says, “Everything was performed more spot-on than any of our previous records. The biggest focus was the songwriting. It’s more dynamic than previous records, and that helped the production sound bigger because there are ups and downs.” The band recruited noted producer (friend and Killswitch Engage guitarist) Adam Dutkiewicz to man the boards. Colin Richardson’s mixing skills also helped create the album’s bigger, fuller, crisper, and more dynamic sound. On An Ocean Between Us, driving melodic choruses are set to a backdrop of breakdowns, the kind that ignite moshpits to the apex of fury. Richardson named the record among his favorite, telling fans “It is brilliant, people! Amazing songs all over the place. It's a truly special album and Jordan [Mancino] has to be one the THE best drummers in metal. Seriously. It was a real honor to mix this album."

Musically, the core four –Lambesis, drummer and fellow founding member Jordan Mancino, guitarists Nick Hipa and Phil Sgrosso- wrote the album, and recruited bassist Josh Gilbert to record and fill the vacant bass position. Lambesis admits that on this album, the foursome where able to commingle all of their strengths. “From the start of this band Jordan and I were always the solid two members. Together we wrote a majority of the songs and were very passionate about every decision the band made. While we always expected that same passion from other band members, we didn’t always receive it. It wasn’t until Phil and Nick joined the band that we were finally able to find the other solid two.” Lambesis also feels the band played to everyone’s strengths when writing, making the process natural. He says, “We were conscious about focusing in on things. Like if we wanted Phil’s guitar melody style to be the showcase of the song. Or if we wanted to go towards the darker, thrashier songwriting style, we’d focus on that. We focused on separate strengths, so songs came out drastically different and it sounds more diverse.” Another musical step occurred on the song “Nothing Left.” Lambesis says the song was a step forward for him personally, because when demoing the song, he had to sing the clean background vocals to get a feel for how he wanted it to go, not because he particularly wanted to sing that part. He says, “It was my first time singing a chorus, and it’s now one of my favorite choruses, and not because I sing it, but because it has a unique feel.”

While Shadows Are Security was a concept record, Lambesis admits that An Ocean Between Us is more lyrically diverse, something that he did with purpose. “I tried to write about whatever was on my mind,” the singer reveals. “I did not have a certain conceptual direction, but because I tend to focus on certain topics, the album has a bit of a theme,” he reveals. “The title is about the separation we need to have between the expectations of the rest of the world and what our goals are. There are dreams we’re taught are normal, whether it’s money or success or any of those things, but we shouldn’t believe in those things if they are not important to us. There is an ocean between our real lives and what is expected of us.”

One thing that can’t be denied is the devotion and loyalty that AILD constantly receive from their fans. In fact, every time that AILD is up for some award that is voted on by the public, AILD’s fan’s never disappoint. The band has taken home the San Diego Music Award’s 2006 Artist of the Year (beating out Jason Mraz and Switchfoot) as well as being voted 2006’s Metal Gods by MTV2. One of the reasons that fans have latched on to AILD so passionately and fervently is that the band always has something thoughtful and positive to say while still playing a combustible, aggressive style of music. Instead of dwelling on what’s wrong with the world, they’re more interested in putting a positive spin on the obstacles that life throws your way. “For a long time in the metal scene, the lyrics weren’t easy for fans to relate to, on a personal level,” Lambesis says. “If you’ were angry, you listened to metal, but there was no positive advice or lyrics that inspired you to overcome struggles. That didn’t exist until more recently. We’d like to think that we’re a band that many younger people can relate to.”

With a fanbase that continues to grow exponentially, AILD plan to focus on what they know best, hitting the road. With a tour schedule that includes the US, Canada, Europe, Japan and Australia, they know that there are always new fans that haven’t been exposed to the music. “We’ll keep pushing forward,” Lambesis says. “There is always a chance for us to do more, even with more people that don’t necessarily listen to metal.” Thanks to their keen sense of melody that allows their songs to continually take up real estate in your brain, AILD is confident about winning over these new fans. Without question An Ocean Between Us is the right record to capture their attention.

Lambesis has always seen AS I LAY DYING as a metal band that still has a great deal of punk and hardcore influence in both their music and ethics, something that also draws different people to the band. “I’ve always appreciated how punk music has such a strong sense of melody, but with really fast beats,” Lambesis says. “Those melodies and tempos can also be found in our songs...just don’t let the double bass fool you. Also a large part of our melody comes from the guitars (as opposed to the vocals), something we have become known for. And beyond the music, I’ve always felt like we come from a punk and hardcore ethic as well, something that is embedded in the way we approach our music careers. As a band, being passionate about what we do and having meaning behind our music, that’s what we’re about. It’s not just mindless, mass marketed pop music. For me personally, within the band, and within my life, I want to stand up for what I believe in. That’s more important than the success or the popularity that comes from being in a band.”

With An Ocean Between Us, AS I LAY DYING are definitely on to something special. And with a touring schedule that would make the circus jealous, you can rest assured that AS I LAY DYING will be leaving an even bigger mark in 2007 and beyond.

Wacken Open Air 2008


Skull News Skull

Thursday 21. of February 2008 - Age: 2 days - By: WackenHelge
Dear Metalheads,

To make the long time till the next W:O:A a little bit shorter we got a real special suprise for you: Wacken rocks Seaside

Because of a massive count of requests we have decided to make a big warm up party!


Tuesday 19. of February 2008 - Age: 4 days - By: WackenHelge
Dear Metalheads,

the billing has grown a little bit more. Unearth und Job for a Cowboy will play live at the W:O:A 2008.

Friday 15. of February 2008 - Age: 8 days - By: WackenHelge
Dear Metalheads,

The Wacken Open Air is nominated in the category "Festival of the Year" at the LEA (Live Entertainment Awards). The Festival is nominated together with "Rock am Ring" and "Haldern Pop Festival".

Tuesday 12. of February 2008 - Age: 11 days - By: WackenHelge
=> Steamhammer/SPV reissues KAMELOT's latest masterpiece with loads of extras!

Hannover, Germany, February 11th, 2008 - One of music's premier and prestigious rock/metal acts KAMELOT will reissue its classic "Ghost Opera". For countless Kamelot fans, "Ghost Opera" is a milestone in the band's his...

Wednesday 13. of February 2008 - Age: 10 days - By: WackenHelge
Dear metalheads!

This year there will be no extra marked area for visitors with handicaps on the campgrounds like in the years before. We have decided so because in the past this campground was populated by people which were not part of this target group.

Tuesday 12. of February 2008 - Age: 11 days - By: WackenHelge
Dear Metalheads,

Leaves Eyes are confirmed for the W:O:A 2008. The band of Liv Kristine will perform as Headliner on Thursday at the Party Stage with a special wiking ship.

Friday 08. of February 2008 - Age: 15 days - By: WackenHelge
Tobias Sammet’s new Avantasia epic „The Scarecrow“ turns out to be a real chart-breaker. More positions read as follows:

#6 Czech Republic

#8 Germany

#10 Sweden

#16 Austria

#17 Switzerland

#26 Finland

#29 England (Independent)

#49 Japan

#50 Belgium

#58 France





Saturday, February 23, 2008

The Greatest Metal Bands Of All Time (1970-2008)

1. Black Sabbath

A tolling bell cuts through a torrential thunderstorm. Then, a trudging, three-note riff is capped with a sinister guitar trill. As moody drum fills tumble ominously, a powerful, nasal voice sings, "What is this that stands before me?/ A figure in black which points at me." The year is 1970 and the horned beast of heavy metal has just been born: Black Sabbath have arrived.

Musically, Sabbath's inception marked the moment when rock, blues, psychedelia and the occult fused into a powerfully volatile medium. The band's appeal was largely due to the disparate voices and collective might of its members. Vocalist Ozzy Osbourne looked like a disillusioned hippie gripped by madness and consumed by hatred, but he sang memorable melodies with a fatalistic sneer that resonated like a rock through a window. Guitarist Tony Iommi (who'd lost the tips of three fingers in a factory accident, inadvertently spawning the band's down-tuned sound) drew influence from Led Zeppelin, Cream and Blue Cheer and amped up the sound with extra distortion and chugging power chords; bassist Geezer Butler played imaginative counter-lines to the riffs and drummer Bill Ward made sure the music felt like thunder. Together, Black Sabbath were the sound of the world in flames — a working-class shout from the industrial hinterlands of Birmingham, England, to the post-Altamont generation, challenging them to accept a life of chaos and embrace the wreckage.

In addition to being heavy and menacing, Black Sabbath were also incredibly prolific. The band released its classic first four albums in a mere two-and-a-half years. Four more LPs with Osbourne followed before long-simmering tensions led to his departure from the band; he was replaced by Ronnie James Dio, who recorded two impressive albums with Sabbath before leaving to form the eponymously named outfit that continues to this day.

Sabbath persevered through the '80s and '90s, releasing albums and touring with a variety of vocalists, but none could recapture the majesty and insanity of the Ozzy years. Finally, in 1997, Ozzy convinced Iommi and Butler to reunite with him to headline the heralded Ozzfest; Ward was on board for reunion shows at the end of that year, which were released as a live LP, Reunion. The drummer's participation in Sabbath tours has been on-again off-again, and the band's plans to record a new studio LP have yet to reach fruition, but all four members took the stage at the Rock and Roll Hall of Fame ceremony earlier this year for the long-overdue induction of this most quintessential heavy metal band.




Black Sabbath (1970), Paranoid (1971), Master of Reality (1971), Volume 4 (1972), Sabbath Bloody Sabbath (1973), Heaven and Hell (1980), Symptom of the Universe: The Original Black Sabbath (retrospective).





"They were and still are a groundbreaking band. Even though they haven't released any new music in ages, you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." — Rob Halford, Judas Priest

"To create something from nothing is impossible (unless you're a wizard). So what Black Sabbath did was magic. These four wizards from Birmingham created a genre of music that didn't exist before Tony Iommi put tipless fingers to fretboard and changed the world. It's as if the notes were just floating around in the ether waiting to be heard until Tony, with the power of his hands, plucked them from limbo to share their doom-onic song with all of us. Sabbath channeled those notes into five perfect albums of pure heavy metal. It's theirs. They own it. Everyone else that followed — Judas Priest, Iron Maiden, Metallica, Anthrax, Slayer, Pantera (all great bands in their own right) — are just leasing." — Scott Ian, Anthrax

"The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." — Tom Morello, Audioslave/ Rage Against the Machine




Do Sabbath also top your list? Check out reader top 10s and share your own thoughts in You Tell Us.


2. Judas Priest


If Black Sabbath planted the seeds of metal, their demon offspring Judas Priest made sure the vitriolic blossoms continued to flourish in fresh, exciting ways.

Between 1974 and 1990, Judas Priest — who arose from the same part of England as Sabbath and even shared a rehearsal space with them in the early days — were the keepers of the metal crown, writing songs that were slick as leather and sharp as spikes. Their mid-tempo sound — a surging mix of gleaming guitars, thundering beats and vocals that vaulted from fiery scowls to operatic howls — is custom-designed for headbanging. And their twin-axe attack gives them enormous flexibility: At any given point in a song, guitarists Glenn Tipton and K.K. Downing can create a dense, impenetrable wall of sound, play flashy guitar harmonies or work in tandem where one provides grinding rhythm while the other solos.

But most of all it is singer Rob Halford who brings the magic to Priest, with a menacing wail that has been often copied but never duplicated. In his songs, Halford addresses themes of self-empowerment, liberation and revenge — and when he screams for vengeance, he looks the part.

Indeed, Judas Priest's biker-bar stagewear, which the band adopted around the release of 1978's Hell Bent for Leather, shaped metal fashion in the '80s. Clad in studded leather and brandishing their instruments like weapons, the members were a vision of danger and devastation— and the band's shows traditionally culminate with Halford coming onstage for the encore astride a roaring motorcycle.

Ironically, Halford was depicted throughout the '80s as a ladykiller, and was frequently photographed with buxom models draped around his shoulders. But in 1998, about seven years after years after he left Judas Priest, he publicly admitted his homosexuality. Fortunately, there was no backlash, and when Halford rejoined the band in July 2003, new and old fans embraced his return. Priest's performance on Ozzfest in 2004 was one of the highlights of the festival, and the band kept the momentum flowing by returning to the studio and releasing a new album, Angel of Retribution, in 2005. Judas Priest are currently in the studio working on their next LP, an epic concept album about the life of legendary soothsayer Nostradamus. In 2007, the screaming will begin anew.




Stained Class (1977), Hell Bent for Leather (1978), British Steel (1980), Point of Entry (1981), Screaming for Vengeance (1982), The Essential Judas Priest (retrospective).





"I still get giddy when we go on tour with Priest. I think they have a really unique two-guitar attack. Glenn Tipton's probably the most underrated guitar player in existence — he's just stunning. And K.K. Downing was a master of the dive bomb, so you'd probably say I patterned myself more after K.K. There's a little bit of both of them in [my style]. And they're just great f---ing dudes. I still clam up around them." — Kerry King, Slayer

"Real metal for me is Judas Priest, because they don't have any other qualities except metal. They're just pure, 100-percent metal, whereas a band like Metallica has gone through stages where they weren't so metal." — Michael Amott, Arch Enemy

"The first Priest tune I ever heard was 'Painkiller' when I was, like, 10 years old, and it just blew me away. That whole album is still one of the best metal albums ever. I was hooked, and it wasn't until five years later that I even heard their earlier stuff. Probably my number-one metal moment was when I got to play 'Living After Midnight' with the metal god himself, Rob Halford, in Japan." — Alexi Laiho, Children of Bodom




"#2 through #9 could be switched around in any order" according to Gary from Pennsylvania. Line up your order and check out other reader lists. You tell us!



3. Metallica


In 1982, a Los Angeles-based independent label called Metal Blade opened shop with Metal Massacre, a compilation album that featured songs by fairly heavy bands like Malice, Cirith Ungol, Steeler and others that have long since faded into obscurity. There was also a song from Ratt (about whom the less is said, the better) and that closing track, which cut the rest of the album to ribbons: "Hit the Lights," the first officially released song from a then-unknown San Francisco outfit called Metallica. Heavy metal — and rock music — would never be the same.

Metallica injected a much-needed dose of adrenaline and ferocity into the genre, and for the first four albums of their career, they were the meanest, tightest and most creative metal band on the planet. Combining the speed and sneer of Motörhead with the fist-clenched riffage of then-new British bands like Iron Maiden and Diamond Head, Metallica virtually invented thrash and, unlike many of their peers, emphasized melody and nuance as much as speed and volume.

Frontman James Hetfield spouted tales of violence and fantasy, but he also preached freedom and self-reliance. And although his voice was gruff and aggressive, he sometimes dropped his guard and exhibited a hint of vulnerability. His vocal skills were surpassed only by his fierce, precise rhythm guitar work, which provided the sonic backbone for the fiery leads of guitarist Kirk Hammett, the acrobatic thunder of drummer Lars Ulrich and the versatile bass playing of the late Cliff Burton (and later Jason Newsted and Robert Trujillo).

Yet the band's punkish, renegade attitude counted for as much as the music. For a long time, the approach paid off, especially after they decided to slow down, streamline their arrangements and simplify their melodies for their blockbuster self-titled LP (a.k.a. "The Black Album") in 1991.

But for many, that single-mindedness has been Metallica's greatest flaw. When they strayed from their signature sound and incorporated boogie-blues, country-rock and alt-rock into their music on 1996's Load and its companion album, 1997's Reload, — and, more shockingly, cut their hair — Metallica was harshly criticized by the metal community. And when they tried to single-handedly take on illegal downloading by suing Napster in 2000, they were widely perceived as greedy. Then, when Metallica experimented with studio improvisation and lo-fi recording techniques on St. Anger — not to mention airing their therapy sessions in the film "Some Kind of Monster" — they were dismissed as being arty and out of touch.

Even so, Metallica have continued to sell out arenas and remain a devastating force in concert. Regardless of how you feel about the last decade of the band's career, their early innovations were groundbreaking, affecting nearly every metal band that followed.




Kill 'Em All (1983), Ride the Lightning (1984), Master of Puppets (1986), Metallica ("The Black Album") (1991).






"The name says it. They really brought the speed thing to the forefront when they came out, and they've been doing it for 25-plus years. They're the real deal, man. Master of Puppets was the greatest record they ever made. It was when they were at the top of their game, and wrote the best songs they ever wrote. I love it, start to finish — every song. Everybody knew they were the big dog on the block, and they never had to watch out for anybody. We [Pantera] were the only band that ever really got close to achieving what they did. They were a band to measure your accomplishments by." — Vinnie Paul, Pantera/ Damageplan

"They've always been an inspiration to Korn. I love that they've done things their own way and they've persevered over the years and they're still relevant to this day. They still sell out arenas everywhere they go. I'm just a huge fan. They refused to make the same kind of album twice, and I really respect them for that. I think they're one of the greatest bands ever." — Jonathan Davis, Korn

"I love everything they've ever done. 'The Black Album' is one of my favorite albums of all time. To be able to write riffs like that, with such driving beats ... sometimes simplifying things is way more impactful. But my favorite album is [1988's] ... And Justice For All." — Zacky Vengeance, Avenged Sevenfold




Jimmy from L.A. puts Metallica at #2, and blames the panel's "selective memory" for their #3 ranking. Where do they fall on your top 10? You tell us!


4. Iron Maiden


To say that a heavy metal band is larger than life verges on redundancy, since the entire genre is about being bigger, stronger, faster, louder and more intense. But even within the metal microcosm, Iron Maiden are larger and more iconic than most of their peers. Unlike many metal bands, however, Maiden's music isn't primarily about rage or revenge — it's more an outlet for escape. And since the release of their debut EP in 1979, Maiden have provided millions of fans with a high-energy vacation from life via thunderous guitars, galloping beats and melodramatic vocals that transport the listener wherever the lyrics command.

In addition to traditional horror-story fare, Iron Maiden have explored Greek mythology ("Flight of Icarus"), ancient Egypt ("Powerslave") and the bowels of hell ("The Number of the Beast"). They also addressed more historically significant subjects such as the genocide of Native Americans ("Run to the Hills") and the war in Iraq ("Face in the Sand"). The horrors described in their lyrics found physical manifestation in the band's ghoulish mascot, "Eddie the 'ead," which routinely joins them onstage in some or other robotic form. And, whether tackling a tale in a conventional four-minute framework or stretching a yarn into a 15-minute mini-epic, Maiden perform with equal vigor, laying down technically proficient passages and mindbending solos that impress without being pretentious.

Although the band recorded classics like "Running Free" and "Wrathchild" with original singer Paul Di'Anno, they hit their stride with his successor, Bruce Dickinson. Between 1982 and 1992, the band released a formidable series of high-impact songs driven by Dickinson's multi-octave vocals and unforgettable guitar parts. Yet the band's anchor since its 1977 inception has been Steve Harris, whose songwriting strength and signature, 16th-note-laden bass runs propel the Maiden sound.

In 1992, Dickinson quit the band to focus on his solo career and Maiden continued with singer Blaze Bailey, but the shift didn't work for either, and in 1999 the powerhouse lineup reunited, even stronger than ever: When early guitarist Adrian Smith, who'd left in 1989, said he wanted to return, the band boosted its lineup to include three guitarists, making the epic vibe of its music even more so. Since then, Maiden have logged thousands of miles on the road, just wrapped their third post-reunion studio LP (slated for release later this year) and look set for another decade of dominance.




Killers (1981), The Number of the Beast (1982), Piece of Mind (1983), Powerslave (1984).





"When Maiden came along it was a thrill to see there was another band that was going to go out and dominate the world and keep the faith of metal. It really is a cause that we live for, outside of playing in a metal band. We love this music so dearly and anyone that comes along and is able to keep the blood pumping is important, and Maiden were and still are. I think competitiveness is more of the active emotion, rather than rivalry." — Rob Halford, Judas Priest

"The first time I heard Killers, I was like, 'This is what it's all about.' It had all that power — and hooks. It had everything. They were hugely inspiring last year on Ozzfest, because you can see, decades later, that they had just as much energy onstage, and watching 15-year-old kids and 50-year-old dudes rocking out together is just so inspiring. If you stick to your guns, and never lose sight of what it is you do well, it never has to die. You can just keep going. Anytime I've ever felt tired, I thought, 'Man, you can't be tired. Bruce is up there running around for an hour and a half, covering 30 miles a night on that stage — I have nothing to complain about.' " — Brian Fair, Shadows Fall

"That was the first time I can remember waiting for albums [to be released]. I had just gotten Powerslave and I was waiting for Somewhere in Time to come out. It was vicious. Musically, it was fairly simplistic, but the way they put it together, it never sounded the same. They went back to those old mainstay chord progressions, but they always made it sound different. Steve Harris does more with four fingers than I've ever seen anybody do. And Bruce Dickinson? Dude! To me, he was the quintessential old-school heavy metal singer. He could hit notes that were just sick, and he was a great showman. Everything made me a fan. And there wasn't a dude that I hung out with that wasn't trying to draw Eddie on their schoolbooks." — Corey Taylor, Slipknot




"Iron Maiden is the greatest metal band without question." Oh yeah? Tell us where you'd put them on your list in You Tell Us.


5. Pantera


When they formed Pantera as teenagers, "Dimebag" Darrell Abbott and Vinnie Paul Abbott played melodic, Mötley Crüe-style songs that were nearly as flamboyant as their hairstyles. It wasn't until they added singer Phil Anselmo in 1987 that the Texas band started getting mean — and three years later, they found their voice with their second album with Anselmo, 1990's legendary Cowboys From Hell.

Despite its rather cheesy beginnings, the band metamorphosed into something few could have expected: Vicious and furious, the revitalized Pantera redefined heaviness with ripping thrash riffs, bludgeoning rhythms and Anselmo's caged-beast howls.

While never as musically diverse as Metallica, Pantera possessed two traits that made them innovators: a surging "power-groove" inspired by their Southern origins, and one of the best guitarists to ever to pick up an instrument. The late "Dimebag" Darrell's riffs were dense and devastating, and whether he was playing slow chugs or frenetic thrash, his style was instantly identifiable: shredding without wasting a note, and solos punctuated with squealing harmonics, queasy vibrato and ecstatic whammy-bar dives.

The members were just as in-your-face offstage as they were onstage, welcoming musicians and fans with open arms and open bottles, and engaging in the type of rock and roll revelry once enjoyed by their heroes in Kiss and Van Halen.

Between 1990 and 1996, Pantera remained consistently brutal and uncompromising, releasing four devastating studio albums and touring exhaustively, acting as standard-bearers at the height of alt-rock's popularity. But the years took their toll on the bandmembers, and a rift surfaced between the Abbott brothers on one side and Anselmo and bassist Rex Brown on the other. The group kept their personal differences at bay long enough to release a final studio disc, 2000's Reinventing the Steel. But soon after, it became clear that the gulf between the musicians had grown too wide, and Pantera broke up. Anselmo continued rocking in various groups, including Down and Superjoint Ritual, while Vinnie and Dime formed the crushing quartet Damageplan.

Tragically, a deranged fan ended Dime's life on December 7, 2004. And while nothing good came of that event, fans can find solace in the recordings Dime left behind, and the profound influence he's had on everyone from neo-thrashers Trivium to metalcore bands like Atreyu and Bleeding Through.




Cowboys From Hell (1990), A Vulgar Display of Power (1992), Far Beyond Driven (1994).





"Pantera combined the perfect amount of angst, musicianship, groove and heaviness. They waved the flag of metal for well over a decade when most 'heavy' bands were softening their sound to sell more records. Pantera helped saved metal from becoming completely contrived horsesh--. Every single real metal band on the planet today is influenced by Pantera in some shape or form." — Trevor Phipps, Unearth

"When I first heard Pantera, I was incredibly excited. Coming from the metal world, I was waiting and waiting for something to come blasting through the doors, and that's what they did. When I first heard Cowboys From Hell I thought, 'God, this is just awesome. We really need this type of sound and this type of attitude to shake things up.' In the history of rock and roll there have been an enormous number of bands that have come and gone, and the movers and shakers are the ones that are still significant. Pantera is one of those." — Rob Halford, Judas Priest

"The best thing about Pantera is they can do anything in their music, from the simplest to the most complex thing, and still be Pantera. For 'Walk,' it's pretty much two-and-a-half notes — and for two-and-a-half notes to make one of the heaviest riffs in metal ever, it shows they can be as minimalist as they want, and still be completely bludgeoning. And then they do extremely technical crazy sh-- like 'Domination.' Also, Pantera did the breakdown thing that's in all heavy music today long before anyone else thought of it. And Dimebag did all this shreddy stuff with so much feeling, it was incredible." — Corey Beaulieu, Trivium




"Pantera shouldn't be on the list" — is John from Brooklyn, New York, off his rocker or on to something? You tell us!