After their first three albums, which strictly stuck to the band's signature formula of bombastic thrash metal, Slayer eased up a bit, capitalizing on their signature eerie guitar harmonies and creating a much darker atmosphere by way of slowing things down and letting the evil-ness (or perhaps, the Slayer-ness) of the music really shine through the Black Sabbath influence here is undeniable.
I must admit, as a new reviewer I’m a little intimidated to be reviewing an album that’s so highly regarded by metal fans everywhere, but ever since I discovered that South Of Heaven is sorely missing from the Metalreviews database just a few weeks ago, I knew that this review needed to be written.įirst off, I will say that South Of Heaven is, without a doubt, my favorite Slayer album, and also one of my favorite metal albums ever, period. You’re reading this because you know and love South Of Heaven, because it’s a thrash metal classic, and because you’re intrigued about what this reviewer has to say about one of Slayer’s best and most well-loved works.
To read the entire article, purchase this issue from our online store.Let’s face it: If you’re reading this, you already own this album, unless you simply don't like Slayer. But fuck the cruel passage of time and the smog of life ever-changing. And it was many moons ago that Decibel ritualistically spilled first blood to the travails of the inimitable Reign in Blood in issue #1. Twenty-five long years have passed since South of Heaven was unfurled on unsuspecting longhairs. With the title track stupendous, “Mandatory Suicide” inexplicably awesome, “Live Undead” heart-stoppingly good and capper “Spill the Blood” eerily perfect, South of Heaven was Slayer sophisticated, yet still remarkably visceral. The violent bashing and wanton destruction of yesteryear had advanced into cunning hooks, lurid thematics and wicked songcraft. When the title track kicks off with sly, dissonant intent, it’s evident the Slayer of ’88 is not the Slayer of ’86.
South of Heaven introduced Slayer and their ultra-loyal fans to the evils of groove and the Devil’s restraint. This time, there was no desire to best the tempo ferocity of “Necrophobic,” “Jesus Saves” or “Angel of Death.” Slayer’s fourth LP was to be something else entirely. And so Slayer commenced work on what would be South of Heaven, largely without chief riffmaster and intimidator King, who had recently tied the knot and disappeared into the sands of the Copper State.
They suddenly knew who they were, and couldn’t possibly forge Re-Reign in Blood. The in-band dynamic was maturing, and so too was their Slaytanic awareness. But in the two short years after, Slayer’s violent, ask-questions-later aesthetic was giving way to something else. Kerry King, Jeff Hanneman, Tom Araya and Dave Lombardo had unwittingly birthed a monster. When Reign in Blood seeped through the earth’s crust in the fall of ’86, it sent shockwaves through metaldom. dB HoF NO. 097 South of Heaven Label: Def Jam Release date: 1988 -–īefore bastard sons begat cunting daughters, flyswatter stakes were driven through chests and pleasures thought unobtained fully experienced, California thrashers Slayer were hell-bent on leveling not just previous milestones, but any band with an inkling of heaviness.
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