In times of chaos, the primordial appeal of Slayer comes forth as the vision of clarity that it is. This metal fan chose to meet the winds head-on, whether as tribute to the power of the storm or resistance to it, or both. The result proves entertaining, including the possibility that the video cut off before Matthew hurled a six-ton SUV with irritating family stickers on the back into the fan, leaving a very Slayer-esque red spot on the pavement.
Slayer announced more dates for their upcoming fall tour with Anthrax and Death Angel. Slayer also recorded a Youtube video to promote the tour in support of the awful Repenteless:
Every June 6, Slayer fanatics worldwide come together to blast Slayer and be disobedient. This year, the International Day of Slayer XI falls on a Monday, which is a perfect time to call in sick to school/work and listen to Slayer instead!
Continue reading International Day of Slayer XI — June 6, 2016
Slayer are touring North America this fall with lesser eighties speed metal bands Death Angel and Anthrax. I’m still hoping for a SlayExodus tour where the same lineup plays 75% Slayer and 25% Exodux material. Slayer Fan Club members (Does anyone who doesn’t watch the WWF pay to join this?) may preorder tickets now; sales to the general public go on sale Friday.
Kerry King: “It’s always super fun for us to tour with Anthrax. Frank is one of my best friends in the biz!! Put that together with Death Angel, and fans will probably see the best package this year. See you there!”
With more dates to be announced, here is the confirmed itinerary:
9 Jacob’s Pavilion, Cleveland, OH
10 Freedom Hill Amphitheatre, Detroit, MI
12 Sound Academy, Toronto, ON
13 Metropolis, Montreal, QC
15 Stage AE, Pittsburgh, PA
17/18 Rock Allegiance, Chester, PA*
20 Egyptian Room, Indianapolis, IN
22 The Pageant, St. Louis, MO
27 Hard Rock Live, Orlando, FL
28 Fillmore, Miami, FL
30 Horseshoe Casino Tunica, Tunica, MS
3 Norva, Norfolk, VA
5 Tabernacle, Atlanta, GA
7 Gas Monkey Live, Dallas, TX
8 ACL at the Moody Theatre, Austin, TX
10 Fillmore, Denver, CO
11 The Complex, Salt Lake City, UT
13 The Wilma Theatre, Missoula, MT
17 ENMAX Center, Lethbridge, AB
19 South Okanagan Events Centre, Penticton, BC
20 Abbotsford Centre, Abbotsford, BC
23 Reno Events Center, Reno, NV
27 El Paso County Coliseum, El Paso, TX
* Slayer, Anthrax and Death Angel are all on this bill.
The folks at Loudwire recently conducted an interview with Tom Araya. In it, Araya talks about a great swathe of topics relating to his career with Slayer; what particularly stood out to me was his discussion of what went into Repentless. While we’ve probably reiterated more than enough that Repentless wasn’t very good, it’s still interesting reading about the differences Araya perceives between it and previous albums. There’s also some bits of interesting trivia in there that I personally wasn’t aware of before; such as Araya’s affinity for ’70s rock and the Beach Boys, and the varying work ethics and styles of various bandmembers past and present.
Did you ever wonder where you could get those cool stickers that say “Employees Must Carve Slayer Into Their Forearms Before Returning to Work”? What about a Satanic, sleazy, anarchist and cynical mockery of American pop culture and Hollywood Entertainment? Shane Bugbee, who formerly threw metal festivals long before it was cool and now produces pop-art-satire, is selling these through his online shop. If you want to see Mickey Mouse as a Misfits skull or a Laveyan take on the Goonies, this is the place also. Shane sent over a raft of stickers, pins and buttons for us to check out at DMU HQ and we’ve enjoyed spreading these around to those who know how righteously these mock mainstream culture. The Slayer sticker is going in the corporate washroom however.
A veritable tour of the fallen? Perhaps. Blabbermouth recently blabbed about these bands going on a tour of the US some time in 2016. According to them, a March 3rd performance at the Fillmore in Philadelphia has leaked, but little else has been officially revealed. If this does turn out to be an actual tour, and not just an attempt by record labels to entrap some sort of leak at Blabbermouth, it’s… probably worth noting, but far from the best lineup you’re going to see. Slayer and Carcass, at the very least, have strong legacies under their belts (although recent works fail to live up to such), but Testament’s career has been iffy at best, despite some musically proficient if not particularly inspired speed metal at the beginning of their career. As usual, it’s up to you, the reader, to determine whether this concert is worth your time.
Editor’s note: The tour was later confirmed. As of December 3rd, here are the dates:
2/19 – Riviera Theatre, Chicago, IL
2/22 – War Memorial, Nashville, TN
2/24 – The National, Richmond, VA
2/26 – House of Blues, Myrtle Beach, SC
2/27 – The Ritz, Raleigh, NC
2/29 – The Fillmore, Charlotte, NC
3/2 – Capitol Theatre, Port Chester, NY
3/3 – The Fillmore, Philadelphia, PA
3/5 – The Fillmore, Silver Spring, MD
3/6 – The House of Blues, Boston, MA
3/8 – LC Pavilion, Columbus, OH
3/9 – The Orpheum, Madison, WI
3/11 – Myth, St. Paul, MN
3/12 – Civic Auditorium, Fargo, ND
3/14 – MacEwan Hall, Calgary, AB
3/15 – Shaw Centre, Edmonton, AB
3/17 – Revolution Event Center, Boise, ID
3/19 – The Paramount, Seattle, WA
3/20 – Roseland Ballroom, Portland, OR
3/22 – Warfield Theatre, San Francisco, CA
3/26 – The Joint, Las Vegas, NV
The title probably needs a few instances of “again” sprinkled throughout, but whatever. Metal Blade is presumably in the very early stages of putting out new vinyl presses of early Slayer recordings, as evidenced by their decision to announce this through one of our competitors. This rerelease focuses on Slayer’s earliest releases – their first two studio albums, as well as the Live Undead and Haunting the Chapel EPs. Like many of these vinyl reprints, it seems to be fairly limited in scale – only about 1200-1500 of each album is going to be pressed, and any collector who misses these is going to have to wait for a new pressing or content themselves with one of the many older versions. The actual musical content of these records is worth your time, anyways, which is something you can’t say about every record released.
Only one can lead: guitars, voice, bass or drums. Whatever takes the lead will compel others to follow because lead means sketching out the structure of the song. The classic metal albums all lead with guitars and vocals catch up while drums provide accents and bass does whatever it feels necessary.
Repentless reverses this formula. It is built around Tom Araya’s mostly fast-spoken or chanted vocals, and guitar keeps up and drums frame the whole thing. The bass doubles the low notes and does little else, but Slayer has always used that technique. The problem is that in a desire to make catchy choruses and compelling verses, Slayer has relegated its most powerful aspect — the lead rhythm guitar — to a supporting role.
Despite a number of good riffs that call to mind material from the Seasons in the Abyss era, on this album Slayer has had to contort itself to fit around the vocals like a rock song, which de-emphasizes guitar and consequently cramps it and, in its reduced role, forces it to show off and simultaneously keep itself restrained. This keeps the worst of metal guitar and throws out the best. In addition, this reduces songs to minimal song structure based more around a lyrical narrative (or topic of a video) than development of melodies or patterns in the riffs.
This is far from a bad album. The problem is that it is the wrong sort of album. Metal escaped from rock by minimizing the human, especially vocals and feelings, to create a gritty realistic confrontation with the nihilism of existence — the knowledge that events do not depend on feelings or mythological beings, but cause and effect. Slayer expanded its audience in the 1990s to the present by being more centered on vocal hooks and foot-tapping rhythms, and does well at this, but at the expense of what made this band great.
It probably bears mentioning that I consider Hell Awaits to be Slayer’s peak. While it could’ve used a larger recording budget, it showcased some of the band’s most elaborate and well-written compositions. The band didn’t generally follow up on this approach on later albums, but you can hear the lessons applied on the rest of Slayer’s classic ’80s material, and therein lies a lesson. At their peak, Slayer had obvious songwriting formulas, but were able to go build more elaborate and memorable works due to their solid understanding of song structure.
Repentless is Slayer’s 3rd attempt to recapture something else of that era. The production standards are admittedly better (although Slayer generally had good producers working for them in the past as well), but everything else is the stereotypical speed/death assault that the band helped pioneer. Paul Bostaph and Gary Holt serve as adequate substitutes for the departed Dave Lombardo and the deceased Jeff Hanneman (R.I.P), carrying on general stylistic trends without rocking the boat too much. That this is a commercially viable endgame for popular metal bands is something I expect to be one of the major themes of my tenure here at DMU. Even now, though, cracks are showing in the war ensemble – Tom Araya’s vocals are a major stylistic weak point on Repentless. His shouts have become more “extreme” and insistent in recent years, but his ability to vary his vocal techniques has all but collapsed. This album’s prosody is the worst casualty yet, as he delivers these monotonous shouts in unvarying rhythms; the effect is essentially the same as shouting nursery rhymes into a megaphone from your neighborhood rooftops.
Araya’s weaknesses are particularly damning on an album that relies so heavily on vocals to retain the listener’s attention, especially when everyone else on the recording is so competently unremarkable. We live in the age of self-referential Slayer, a long darkness that our learned scholars perhaps debate the duration of in their moments of distraction. Repentless is essentially a more formulaic version of previous Slayer albums that themselves were a simplification of their own predecessors. It’s very likely that the songs here sound marginally more like classic Slayer than those on Christ Illusion or World Painted Blood, but their unwillingness (or inability) to expand on basics renders them ultimately pointless. I can’t fault the band for continuing, though; previous recordings, while underwhelming, more than satiate an omnivorous fanbase who will probably go back to Reign in Blood after a while.