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On “Seasons In the Abyss” Bay Area thrashers Slayer settled into its midpaced sound, and wrote its most epic album to date. Almost the entire album (with exception of one track) deals with topical real-life events, the horrors of war and serial killers. “Seasons In the Abyss” was Slayer’s highest charted album at the time, and their best selling. The album was promoted by extensive touring on both continents, and two promotional videos were shot. The most well-known was the title track, which had its video shot in Egypt, whereas the video for ‘War Ensemble’ was shot during the UK leg of the world tour. “Seasons In the Abyss” sees a band in control of its sound but remaining accessible without compromising on what made them famous to begin with. This album just kills.

slayer-1986The band has eased into its slower sound, and works around the new compositional freedom that it allows. On “Seasons In the Abyss” Slayer knows exactly what works and what doesn’t. It further hones and perfects the midpaced sound hinted upon with “South Of Heaven”. In a way it is similar to how Sepultura’s “Arise” perfected the sound hinted upon with “Schizophrenia” and “Beneath the Remains”. Slayer might not be breaking any records in terms of speed or extremity – but it pays off dividends in more involved songwriting and a stronger compositional muscle. On the whole the album is more musically ambitious and calls back more to the long gone times of “Hell Awaits” than it does to any of its immediate two predecessors. In fact in a lot of ways this is Slayer’s second attempt at a more epic and melodic sound but this time with the advantage of having a cutting edge production job that emphasizes its considerable strengths.  “Seasons In the Abyss” is a compromise between the band’s earlier cutthroat style, and their more recent venture into more melodic and midpaced territory. It just works.

‘War Ensemble’ is another graphical World War 2 epic that details the Battle Of the Bulge. The lyrics succinctly describe the hopelessness and desperation of war.  It is one of the most recognizable Slayer tunes, and despite the high sing-along factor of the chorus, the heavy subject isn’t left untouched. The band go on to describe the major German offensive campaign launched through the densely forested Ardennes region of Wallonia in Belgium, France and Luxembourg on the Western Front toward the end of World War II in Europe in loving detail without choosing either side. It shows Hanneman’s interest in war history, and specific that of World War 2 without glorifying the horrors it brought upon those involved. In a way it also counters the argument that Slayer were closet Nazi supporters, as ‘War Ensemble’ talks about the conflict from the standpoint of the Allied forces. Other than that, it is just a very strong track in itself.

'Blood Red' details the Tiananmen Square massacre in Bejing in 1989, where over a thousand protestors were slaughtered. ‘Spirit In Black’ is another horror/satanic themed song with probably the best lyrics the band had ever penned. It vividly depicts the sort of macabre atmosphere that would come to define the Doom video game franchise, and it actually references a number of earlier Slayer tunes and albums. ‘Expendable Youth’ concerns the hopelessness of youths in poverty-stricken, decaying urban areas, and gun-related deaths in gang culture. ‘Dead Skin Mask’ is about notorious 1950’s cannibal/serial killer Ed Gein, the Plainfield Butcher. This real life horror story remains a fixation for various extreme metal bands to this day, as both Deranged and Mortician (among others) have written their own songs about the subject. ‘Skeletons Of Society’ is a “torn-from-the-headlines” apocalyptic tale of a world falling in ruin.

On the whole “Seasons In the Abyss” is refinement of the sound the band started on “South Of Heaven”. It is more accessible compared to the earlier Slayer output, and the production is the best the band would ever experience. Despite the slower overall pace Slayer is still its usual self. When the band plays fast they do go all out, and the solo’ing between Hanneman and King are still a wonder to behold. Kerry King does start to show minor symptoms of his “string-random-notes-together” type solo’ing that would come to define the crowd pandering records after this one. It is also the last album to feature Slayer in its classic wardrobe, and have King have long hair. This is the point where the old Slayer and new Slayer become separate entities. The ill-fated follow-up to this record would herald the downfall of a once considered unattaintable thrash metal royalty. In a lot of ways it is the end of an era for a band that was in constant evolution. After having defined and redefined a genre with much of its output, Slayer is at the verge of becoming usurped by its corporate branch. All records to follow in this album’s footsteps would be born out of market research and crowd pandering rather than a passion for the music. “Seasons In the Abyss” is the last mandatory Slayer record in that regard, although “Divine Intervention” doesn’t nearly deserve the bad rap it usually gets.

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With “South Of Heaven” Slayer made its foray into more melodic and midpaced territory. After the clusterbomb that was “Reign In Blood” it was wise of the band to slow down and once again pen more elaborate material. Having pushed the speed/thrash metal genre in terms of speed and overall intensity “South Of Heaven” sounds more controlled and distills the band’s sound into a crunchy whole. This comes at the price of being less confrontational and the integration of a less savage vocal style. Produced with Rick Rubin at Hit City West in Los Angeles “South Of Heaven” was the last album to feature Araya’s falsetto and the first to have Araya play bass guitar with a pick instead of his previous finger picked style. This album marks the beginning of Slayer’s second era, and it is the one but last recording to feature original drummer Dave Lombardo.

slayer-classicAs history would note Kerry King (lead guitars) was going through a dry spell in terms of creativity due to his then-recent marriage and moving to Phoenix, Arizona. Thus Jeff Hanneman leads the charge with King only contributing to three songs. Contrary to King the writing style of Hanneman is more involved and compositionally more ambitious. There is a greater focus on leads/solos, and in architecture and composition this record is closer related to “Hell Awaits” than to its more urgent sounding direct predecessor. This is perhaps not all that surprising since “Hell Awaits” was also written in its majority by the technically more refined guitarist Jeff Hanneman, with King contributing to three tracks and having sole writing credit for the truly vicious ‘Praise Of Death’. As it stands Hanneman is responsible for the classics. For all albums up to this point Hanneman wrote the lion’s share of the material, with the exception of “Reign In Blood” which was written almost in its entirety by Kerry King resulting a more straightforward experience.

In contrast to the preceding records Slayer opens with the title track, and much like “Hell Awaits” it has an extended, nearly minute-long opening. ‘South Of Heaven’ is a moderately paced piece that slowly builds towards its climax. Despite the slower overall pace the band manage to sound incredibly evil, and the goofy satanic lyrics are actually full of powerful imagery. Even though the tempo is still high, it is much slower than on the previous records. Overall “South Of Heaven” is faster than “Hell Awaits” but this is mainly due to the leaner riff construction and Lombardo’s breakneck drumming. Araya’s vocals are much more subdued, and not nearly as unhinged as on prior records. ‘Live Undead’ stands out in the sense that it feels like a “Show No Mercy” b-side that was rewritten to fit the band’s current, much slower interpretation of its sound. ‘Behind the Crooked Cross’ sounds like Slayer trying to one-up Metallica’s thematically similar ‘Leper Messiah’. ‘Mandatory Suicide’, a protest song against war, is one of the album highlights, along with the title track – and both have become perennial live staples in the band’s setlist. For good reason, both are the strongest cuts the band has ever penned.

The change in style is further emphasized by moving the lyrics into more socio-political territory dealing with warfare, organized religion and serial murder instead of the band’s previous subjects of horror, and goofy Satanism. ‘Silent Scream’ is a pro-abortion song, ‘Behind the Crooked Cross’ and ‘Read Between the Lies’ deal with the ills of organized religion, while ‘Ghosts Of War’ and ‘Mandatory Suicide’ describe the horrors of war and the general absurdity of the situation. ‘Live Undead’, ‘Cleanse the Soul’ and ‘Spill the Blood’ are more of the usual Slayer horror fare, and ‘South Of Heaven’ combines religion and horror in what, arguably, is the best Slayer track up to that point.  Tom Araya’s falsetto appears for the last time in ‘Live Undead’ and he takes songwriting credits for the lyrics to ‘South Of Heaven’, ‘Silent Scream’ and ‘Ghosts Of War’ while contributing material to a further three tracks. “South Of Heaven” is a team effort on part of Hanneman and Araya, with the latter making his presence felt in the vocal slot. “South Of Heaven” is the first to include spoken vocals, appearing first in ‘Mandatory Suicide’.

The second half of the album is notably weaker than the opening half. ‘Read Between the Lines’ and ‘Cleanse the Soul’ are two straightforward cuts reminiscent of “Reign In Blood”, but not nearly as convincing. Of the two ‘Cleanse the Soul’ is the superior. The Judas Priest cover of ‘Dissident Aggressor’ is a nice touch since Slayer has always been very inspired by these famous Brits. The album ends on a lownote with ‘Spill the Blood’ as, unlike in the past, the song never reaches the adrenaline-fueled high marks of prior records. In all “South Of Heaven” is departure on several fronts for Slayer. Gone is the constant high tempo, and much of the corny satanic lyrics have been exchanged for more realistic subjects. Despite all that the dueling solos of Hanneman and King are still intact, and they form the meat-and-bones of this record. The follow-up record “Seasons In the Abyss” would do this new sound more justice, as the band had eased into its creative paradigm. As it stands “South Of Heaven” is nice change of pace for US thrashers Slayer.