THERE’S NO READING BETWEEN THE LINES – a glance at Philip H. Anselmo and the Illegals’ “WALK THROUGH EXITS ONLY”

The massive joy of seeing the legendary name that is Pantera pop up on various festival posters and tour itineraries and whatnot these past few years cannot be overstated. The two icons and legends that are Philip H. Anselmo (vocals) and Rex Brown (bass) teamed up with the inimitable Zakk Wylde (guitar) and the inhumanly skilled Charlie Benante (drums) to bring those timeless metal tunes and anthems to stages all over the world. For legions of old fans that represented the fantastic opportunity to once again immerse oneself in Pantera’s song material in a live setting; for others it was their first time experiencing the vital and thunderous power of timeless classics such as “Becoming,” “Walk,” “Domination,” “Floods,” and “5 Minutes Alone.” Now, the reason I bring all of this up is that some of the very first live video clips of Pantera that surfaced on YouTube from their marvelous shows and stellar performances in late 2022 and early 2023 made me think of the criminally underrated LP titled Walk Through Exits Only that came out via Housecore Records eleven years ago and which sported the brilliant moniker that is Philip H. Anselmo and the Illegals. For whatever beautiful reason, I felt compelled to revisit said record after having watched hours of hugely entertaining Pantera live clips on the web, but the thing is that Walk Through Exits Only is something else entirely, something that I find tantalizingly difficult to describe and put into words, which speaks volumes about its inherently chimerical nature and boundless creativity; it defies pigeonholing and classification without resisting meaning, and it breaks conventional musical narratives and structures into irregular pieces, thereby presenting something that sounds and feels fresh, strangely life-affirming, and wholly original. It may come across as slightly fragmented at first but trust me when I say that everything on the disc will make sense eventually and that it is one of those uniquely rewarding listening pleasures that simply keeps on giving.

      I have been immensely fond of this musically fearless and utterly fierce opus ever since its release on July 16, 2013, and I figured it was time to bring it up again and shed some light on its many qualities as well as discuss just how original and forward-thinking it truly is. With Phil’s inimitable and deeply charismatic vocals on top of a sharp, intensely aggressive tapestry of riffs, its eight compositions weave traits and elements from death metal, grind metal, unhinged thrash metal, black metal, and even old-school hardcore together to stunning effect. Listening to it is akin to having nails driven into one’s skull while trying to get to safety with two broken legs. Yes, it is THAT pummeling and brutal, but there is so much more to it than that. Chock full of twists and turns, the disc offers surprises without losing its sense of direction and purpose, and it maintains its momentum from beginning to end.

      From a purely musical point of view, the compositions inhabit an insane amount of curve balls and display a vigor and intricacy without ever losing the plot or being anything less than memorable. Having said that, singling out favorites and emphasizing the brilliance of some while neglecting to mention others does not feel quite right as the record is as cohesive as they come and possesses a great flow, and at forty minutes long it can hardly be accused of outstaying its welcome. But if forced to choose I would probably opt for the raging “Battalion of Zero” (the infectious line that goes “Heads-up/hands down” gets me every time) and the blistering yet subtly groove-laden “Bedroom Destroyer.” The latter contains a mesmerizing and drone-esque outro that is just to die for.

      The lyrics are more than worthy of study and analysis, and a mere glance at song titles such as “Music Media Is My Whore,” “Usurper Bastard’s Rant,” and “Irrelevant Walls and Computer Screens” clearly indicate that there is nothing ordinary or run-of-the-mill about this hyper-intense offering. The words and music complement each other superbly throughout, and from a personal perspective, lines such as “I will use this depression just like a weapon . . . And it’s aimed at me, and anyone who dares to come too close . . .” and “How can you crash so contented at night? When the engine that drives you is bullshit disguised?” resonate with me in more ways than one. Or how about “Framed things bring spelled leaden guilt trips”? Having the lyrics encompass everything from sarcasm, sardonic wit, conflict, frustration, anguish, and yearning in such an original and oftentimes eloquent way is a rather beautiful thing, really. Strangely, they evoke some of the same thoughts and feelings in me as Morrissey and The Smiths do, and that is an astronomically huge compliment.

      Walk Through Exits Only is an underrated stroke of genius and the perfect tonic if you have had a stressful day at work, are experiencing emotional turmoil, or perhaps find yourself in need of something genuinely inspired and inspiring. The amount of authenticity and conviction that oozes from its muscular, unconventional, and cleverly crafted material is undeniable, and this fully formed piece of work truly deserves an even wider audience. Who in their right mind could possibly resist the prospect of delving into an album with such an intriguing, ambiguous, and thought-provoking title? There is much to absorb, digest, and enjoy here, and it does require patience on the part of the listener as its occasionally confrontational nature can be borderline overwhelming at times, but once it gets underneath your skin you will find it incredibly rewarding. In a musical landscape obsessed with categories, this is as refreshing and invigorating as it gets. Fucking hostile? Try fucking essential.

Line-up:

Philip H. Anselmo -vocals and handmade special fx

Bennett Bartley – bass guitar

Joe Gonzales – drums

Marzi Montazeri -guitars and soundscapes

Tracklist:

1. Music Media Is My Whore
2. Battalion of Zero
3. Betrayed
4. Usurper Bastard’s Rant
5. Walk Through Exits Only
6. Bedroom Destroyer
7. Bedridden
8. Irrelevant Walls and Computer Screens

All songs written by Philip H. Anselmo.

Recorded at Nodferatu’s Lair.

Engineered by Stephen Berrigan.

Mixed by Mike Thompson.

Produced by Philip H. Anselmo and Mike Thompson

Released by Housecore Records on July 16, 2013.

https://phaillegals.bandcamp.com/album/walk-through-exits-only