Here it is, kids: arguably the best Pantera album recorded by a band other than Pantera.
As many of you know, Exhorderās 1992 sophomore LP, The LawĀ (and its predecessor, Slaughter in the Vatican, for that matter), bear anĀ uncanny resemblance to Panteraās concurrently releasedĀ Cowboys from HellĀ and Vulgar Display of Power, and there was absolutely zero coincidental about it!
While thereās no way to prove this beyond a reasonable doubt (and, as we know, history is written by the victors), this New Orleansā quintet are widely credited with establishing the fundamental groove metal blueprint (smudged by southern sludge) that their nemesis subsequently perfected and rode all the way to the heavy metal big leagues.
Not only were Kyle Thomasā enraged roaring and self-empowering lyrics absolute ringers for fellow N.O.L.A. native Phil Anselmo, but Vinnie LaBella and Jay Ceravoloās muscular, molten lava rhythm guitars likely contributed to Diamond Darrellās transformation into Dimebag Darrell.Ā
Though I will say, knowing that inspiration can also be a two-way-street, that The Lawās blood-red cover art sort of looks like cross between Panteraās I Am the NightĀ (1985) and Power Metal (ā88)Ā albums.
Meaning that the jury is still out (and probably always will be), but it doesn't take a musical genius to realize that both bands were mining a very similar vein at exactly the same time -- one that saw the brutal values of thrash and death metal honed to a groove-oriented, bluntly focused approach.Ā
And Exhorder's second LP showed marked improvement over their flawed debut; pushing the boundaries of their aggressive sound so as to radically broaden their dynamic and melodic range, without losing touch with its core elements.Ā
Prime examples included the title track, āSoul Search Me,ā the alternately thrashy and sludgy āUnforgiven,ā andĀ ā(Cadence Of) The Dirge, ā all of which employed a dizzying array of neck-snapping starts and stops with the monolithic force of a āPrimal Concrete Sledgeā -- oops!Ā
But Exhorder werenāt averse to trying new things, so while the tangled riffs of āI Am the Crossā recalled prog-thrashers Dark Angel,Ā theĀ elastic guitar licks and slap-bass of āUn-Born Againā fell in with countless other bands (Mordred, Mind Funk, Saigon Kick, Faith No More, etc.) that were flirting with the short-lived funk metal craze of the time.
Yet the most conspicuous number here was Exhorderās surprisingly faithful rendition of Black Sabbathās āInto the Void,ā which stands in stark contrast to the mold-breaking, risk-taking experiments all around it, but was likely requisitioned for that very reason by the good folks at Roadrunner Records.Ā
All of the above made The Law a valiant effort that would go down as a minor extreme metal classic of the early ā90s, and yet it still couldnāt prevent Exhorder from breaking up a short time later, no doubt feeling robbed (and they wouldnāt be the last) by their old friend Anselmo as Pantera shot to fame.
But this wouldnāt be the last fans heard of singer Thomas, who went on to front the excellent (if short-lived) Floodgate, before joining Chicago doom gods Trouble, then southern fried stoned rockers Alabama Thunderpussy, and finally helming a partial Exhorder reunionĀ for 2019āsĀ Mourn the Southern SkiesĀ album.
p.s. -- Some of these words evolved from my All-Music Guide review of The Law.
More Exhorder: Slaughter in the Vatican.