Three decades ago, on December 3, 1983, Slayer unleashed Show No Mercy upon an ungrateful world. This event changed more than one band’s future; it helped launch the next generation in metal.
Combining the fluid tremolo strum of hardcore punk with the melodic song structures of Iron Maiden and the angular, rhythmically precise riffing of Judas Priest, Slayer sculpted from raw elements the future of death metal. With the guitars freed from having to emphasize offbeats, riffs became more fluid and tended toward phrases, jazz-style, instead of bouncy percussion in the style of rock.
This broke metal free from much of what had kept it confined by allowing guitar to become the primary lead instrument in every sense. Rhythmically, melodically and in developing song structure, the guitar dominated and aligned every other instrument including voice behind it. The result was a new flexibility in songwriting that helped launch the genres death metal, black metal, grindcore and thrash.
In addition, Slayer converted heavy metal’s flirtation with the occult from a type of provocation to the easily offended, to a mythological view in which dark occult forces manipulated the weakest among humans in a quest for world destruction. They were thus able to symbolize the darkness, corruption and mental servitude they saw in the society around in the religious symbols of centuries before.
The result was a form of music more powerful and intense than anything before. The band came into their own on the following three albums, relying less on the heavy metal tropes from before and developing their own language in a proto-death-metal style. But it all began with Show No Mercy.
Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces
edited by Albert Mudrian
365 pages, Da Capo Press, $14
The 25 Masterpieces
Black Sabbath – Heaven and Hell
Diamond Head – Lightning to the Nations
Celtic Frost – Morbid Tales
Slayer – Reign in Blood
Napalm Death – Scum
Repulsion – Horrified
Morbid Angel – Altars of Madness
Obituary – Cause of Death
Entombed – Left Hand Path
Paradise Lost – Gothic
Carcass – Necroticism — Descanting the Insalubrious
Cannibal Corpse – Tomb of the Mutilated
Darkthrone – Transilvanian Hunger
Kyuss – Welcome to Sky Valley
Meshuggah – Destroy Erase Improve
Monster Magnet – Dopes to Infinity
At the Gates – Slaughter of the Soul
Opeth – Orchid
Down – NOLA
Emperor – In the Nightside Eclipse
Sleep – Jerusalem
The Dillinger Escape Plan – Calculating Infinity
Botch – We Are the Romans
Converge – Jane Doe
Eyehategod – Take as Needed for Pain
Rock journalism challenges even the bravest writer. Musicians are not known for being articulate, nor is it easy to pin them down, and lore snowballs in that vacuum. For this reason it’s great to see the series of in-depth explorations that have come about recently regarding many classic events of metal. As musicians age, given that musicians have a shorter life-span than average, this is also a race against time in many cases.
Albert Mudrian’s Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces presents a welcome addition to the genre of historical metal journalism. Combing through archives, the writers of each piece compiled band statements about the album and put them together in linear form, like a conversation. The result is a whole lot of information delivered in a very digestible form, with the extraneous confusion of live interviews edited right out of the picture. It’s a good starting point for anyone looking into these historical nodal points in the evolution of metal.
Mudrian seems aware how easily a book like this could become repetitive. Not just in the answers, where musicians might make roughly similar statements about touring, band formation, the troubles of collaboration and so forth, but in the similarity of bands. If for example he added another three Swedish death metal bands, it might start to get a little bit stuffy in the virtual room he’s created. Instead, he gives us space between acts and a wide variety of acts, but avoids the really awful nu-metal and tek-deth. However, the price of that spaciousness is that he includes bands like Monster Magnet and Kyuss which really aren’t metal at all.
There are some shockers in content, too. Some of these bands, despite their professions of various depraved behaviors, are insanely business-like in how they go about getting recorded and published. Sleep, Cannibal Corpse, Dillinger Escape Plan, Botch and Converge really had their act together. For a few moments, it was more like reading Forbes than Decibel, but it’s really gratifying to see this side of the business portrayed honestly. If you want your music heard, there’s a certain amount of business activity that must precede that event.
On the whole, these chapters are extremely well edited including the choice of material. They are in question-answer form, where the questions are usually prompts about historical events or general questions applied to specific moments or activities. When an incidental or minor character is cited, he or she speaks up for a few questions and then fades out. The bulk of the material favors the most articulate band members and major actors, but the writers shoehorn in as many diverse perspectives as they can. This makes reading Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces feel like being in a comfortable pub with these bands, on a rainy day, with a tape recorder next to the ashtray.
Each chapter corresponds to a classic album and comes with an intro paragraph. If anything, here’s where the book could benefit from some uniformity and toning down the “rock journalism” aspects. Perhaps not a just-the-facts-ma’am approach, but more of an assessment of where the band fits into history and why people like them, and leave it at that. Some of these were over the top for the actual function they serve. However, among the bombast is a lot of good information.
At that point the interview(s) compiled into a single form take over. Most of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces is the bands speaking, and that is the power of Mudrian’s editing and the work of his colleagues. They’ve trimmed out the transient stuff, the window dressing and repetition, and left us with clear statements from the bands that show them in their own voices and approaching the situation at their own angle. This also helps create an epic feel to the epic interviews because it’s a compilation of the best moments of the band commenting on this album, put into one form that flows naturally.
Was the intro, “Human,” something you had conceived of before you went into the studio? Ain: Yes, we had the idea before we went into the studio — we wanted to loop a scream and make it perpetual. We also wanted to use it as an intro for the live shows. A regular human scream would never last that long, so we wanted to loop it and make it sound like a scream from hell, like how you would scream if the pain was everlasting. Warrior: We had talked about it, but we were basically still laymen, so we had no idea how we could put it together. So we told Horst what we wanted to do, and he proposed how to do it. But as I said, we only had six days to do everything. If one thing failed, we would’ve gone over budget or had to go home. So, in hindsight, it’s a miracle that tracks like “Human” or “Danse Macabre” came out the way we wanted them to. We couldn’t rehearse some of those parts, you know? I have no idea how we did that in just a few days, especially given our lack of experience. But therein lies one of the strengths of Celtic Frost to this day: Martin and I usually visualize certain pieces of music down to the last detail without even touching an instrument.
This excerpt reveals the power of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. In the midst of the mundane description of studio struggles, Tom Warrior articulates part of the essence of his band. Many such moments of insight, casually and offhandedly mentioned in describing some rather ordinary thing, flesh out this book and make it more than a fan’s quest but a resource for musicians and anyone else curious about the origins and process of creating extreme metal.
Not everyone will agree on certain aspects of this book and naturally any choices made along these lines are divisive. However, the book has enough to offer just about anyone who loves metal so that the purchase will not be regretted, even if there are chapters you skipped. In fact, I recommend skipping those chapters and approaching this book as a buffet. No matter what sub-genres you adore, you’re going to have at least five you’re dying to read, another five you’re very excited to read, and another five you’re curious about, and the rest will be uncertain but you might find some interesting information there, as I did.
It is impossible to find just 25 to represent metal. Some of these choices are nods to the music industry and mainstream fanbase, like Dillinger Escape Plan, or to history, like Botch, who were the vanguard of the metalcore movement. Some are near-misses like the apologetic At the Gates treatment of their best-seller, but this interview also confirms a lot that reviewers said about this album, namely that it was retro to the past generation of metal and somewhat hasty. Some others, like Converge and Eyehategod, seem marginal in that these bands spent a lot of time disclaiming metal back in the day.
On the whole however Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces offers a good pan-and-scan perspective of what was going on in metal at the time, and by showing us the fly-over accumulation of variety, Mudrian and Decibel show us not only what these bands were doing, but the forces against which they were struggling to define themselves. The result is a treasure hunt of a book, bristling with secrets and previously undiscovered pathways, for those who enjoy extreme heavy metal.
Legendary moshers Slayer, who combined NWOBHM and hardcore punk to invent their own style of music which bridged speed metal and the nascent death metal movement, along with Hellhammer and Bathory creating the sound of underground metal, are back on tour.
Slayer‘s five-week North American tour shows the band with replacement musicians — guitarist Gary Holt and drummer Paul Bostaph — replacing musicians Jeff Hanneman and Dave Lombardo, respectively. The band was shaken by Hanneman’s untimely death earlier this year and have been struggling to return to routine.
This is Slayer‘s first North American tour in two years and will include the band’s previously announced return to New York’s Theatre at Madison Square Garden and the Hollywood Palladium, venues the band hasn’t performed at in 25 years.
22 Sullivan Sports Arena, Anchorage, AK
25 The Joint at Hard Rock Hotel & Casino, Las Vegas, NV
28 Hollywood Palladium, Hollywood, CA
30 Events Center @ San Jose State, San Jose, CA
1WAMU Center, Seattle, WA
3Stampede Corrall, Calgary, AB
4Shaw Center, Edmonton, AB
5Praireland Park Center, Saskatoon, SK
7MTS Center, Winnipeg, MB
8 Myth, Minneapolis, MN
10 FunFunFun Fest, Austin, TX
12 Bayou Music Center, Houston, TX
13 South Side Ballroom, Dallas, TX
15 Aragon Ballroom, Chicago, IL
16 The Fillmore, Detroit, MI
17 LC Pavilion, Columbus, OH
19 The Fillmore, Washington, D.C.
20 Stage AE, Pittsburgh, PA
21Ricoh Colibsum, Toronto, ON
23CEPSUM/University of Montreal, Montreal, QC
24Pavilion de la Jeunesse, Quebec, QC
26 Oakdale Theatre, Wallingford, CT
27 Theatre @ MSG, New York, NY
29 Susquehanna Bank Center, Camden, NJ
30 Tsongas Arena, Boston, MA
Slayer’s Show No Mercy turned the metal world upside down when it hit the record stores. Keep in mind this was back in the 1980s, so there was no instant effect, more like a quick ripple as it took people time to learn about the album, get to the store to buy it, dub it from a friend, hear it on a weekly radio show, or get mailed a mix tape.
At the time, the world was just awakening to the possibility of speed metal, which grew out of American bands taking the best of NWOBHM, like Blitzkrieg, Satan, Motorhead, Witchfinder General, etc. and combining them, adding in the attitude of hardcore punk and its rhythms. However, speed metal had a defining characteristic, which was the sharp sonic edges produced by the use of the muted strum.
Slayer took another approach, also derived from hardcore (mainly Discharge), which was the tremolo strum. Instead of producing sharp edges, this produced fuzzy columns of sound like an organ or other instrument with huge sustain. The result was that longer riffs could be created and could be relatively independent from the drums. The song structure opened up with guitar as the lead voice.
This innovation basically created all of underground metal. When Slayer was combined with Bathory and Hellhammer, both black metal and death metal emerged. Black metal was a more ambient variety, where death metal was more structuralist, but both used the same ingredients brought about by this combination, namely the techniques and attitudes of these three bands.
However, Slayer’s invention was what was able to unite the long-form song structures of Hellhammer and the atmospheric approach of Bathory into a format that could expand. Immediately recognizing the power of a style of music which put riff changes before harmony or conventional song structure, Slayer expanded their work beyond the verse-chorus using their famous pattern of introductory and transitional riffs.
A new science was born. It was opposed by many in the speed metal world, since it offered competition to what those musicians were doing and signaled the end of that paradigm (speed metal officially hung up its metal union card in 1991, five years after Slayer took this style over the top with Reign in Blood). Others saw the possibility in this new style.
As a result, when you hear metal music today, you are hearing an inheritance from Slayer. Even outside metal music the idea of a guitar or keyboard leading the drums has gained traction, which breaks out of the somewhat rigid format of rock/pop and gives artists more options. It’s not entirely surprising that Slayer burst onto the scene only ten years after the groundbreaking ambient of Tangerine Dream and Brian Eno/Robert Fripp.
Critics have never really understood how to analyze Show No Mercy in part because the album links together so many influences. Iron Maiden lurks in the chord progressions, Discharge and GBH in the technique, Motorhead in the rugged riffing, Kiss in the somewhat grandiose theatrics, and Judas Priest in the conceptualization of riff structure. But what holds them together is this metal first, which is the tremolo strum and its implications for songwriting.
The “First in Line” series celebrates the metal bands and albums who did something important, and did it first. It’s like an inventor’s award.
The holiday comes every year. The International Day of Slayer is a day to celebrate both being metal and worshiping Slayer by playing loud Slayer and not going to work.
This day is important because it affirms our cultural identity as metalheads through the band that most exemplifies metal of any band through all of history. Slayer made metal into what it always yearned to be: a fully intense, terrifying, apocalyptic and mythological view of human decline and the need to reject society in order to not get dragged down with it.
It’s also singularly intense and powerful music. Today is a good day to not go to work; instead, listen to Slayer.
How to Celebrate
Listen to Slayer at full blast in your car.
Listen to Slayer at full blast in your home.
Listen to Slayer at full blast at your place of employment.
Listen to Slayer at full blast in any public place you prefer.
DO NOT use headphones! The objective of this day is for everyone within earshot to understand that it is the National Day of Slayer. National holidays in America aren’t just about celebrating; they’re about forcing it upon non-participants.
Taking that participation to a problematic level
Stage a “Slay-out.” Don’t go to work. Listen to Slayer.
Have a huge block party that clogs up a street in your neighborhood. Blast Slayer albums all evening. Get police cruisers and helicopters on the scene. Finish with a full-scale riot.
Spray paint Slayer logos on churches, synagogues, or cemeteries.
Play Slayer covers with your own band (since 99% of your riffs are stolen from Slayer anyway).
On June 6, 2006, a new holiday was born in commemoration of the 6/6/6 of the date. Inspired by the American political movement National Day of Prayer, this new holiday was dedicated to the most extreme of metal and was called the “National Day of Slayer.” Since others outside the USA wanted to participate, it soon became the Inter-National Day of Slayer, and has been celebrated enthusiastically every year since.
This year, sobering news hit: On May 2, 2013, founding guitarist and major songwriter Jeff Hanneman of Slayer died from arachnid-induced liver failure. While Slayer re-camps and tries to figure out this situation, the International Day of Slayer team decided to recognize the obvious: Slayer is an emblem of metal just like metal is a symbol for not letting your sense of reality get stolen away by social pressures. As a result, the team re-dedicated the International Day of Slayer as a generalized heavy metal holiday, focused on Slayer as a symbol.
In addition, the same group is launching a new project called the Hessian Association for Identity Legislation (H.A.I.L.) whose goal is to get heavy metal recognized as a legitimate cultural group much like most religions, ethnicities, lifestyle choices and national cultures. We are metalheads, and we are legion worldwide, and we are a culture separate from both the mainstream and the counter-stream. We are going our own way… the most intense way, the way of reality and the way of METAL!
“Hessian” is old-school California thrasher slang for headbangers, metalheads, metal fans, threshers, heshers, etc. It’s derived from the Hessian mercenaries who came over to fight for the British during the Revolutionary War and were both feared and known for their long hair and wild eyed combat tactics. Someone — probably a cynical history teacher — saw the similarity and the name has stuck ever since.
Check out the H.A.I.L. website at www.hailmetal.org and visit the International Day of Slayer while you’re at it. Keep the horns high and the celebration loud, and we could have our own Hessian nation spread out across the globe in no time at all.
Kids of the 1980s were flatfooted out of luck when it came to heavy metal. The newspapers of the time all condemned it as leading kids to Satan, drug abuse, and promiscuous sex. Politicians mentioned it as a sign of the moral decay of our society, and the general view was that metalheads were dirty, stupid, incompetent and probably sociopathic.
But then, much as the 1960s were 20 years behind that time, 20 years and change passed…. and suddenly the kids of the 1980s were the good workers, family people, responsible adults, etc. of the 2010s. Time warps forward and catches up with itself, and suddenly the past is not so misunderstood. It is in fact a platform on which we stand to look at the light of the future.
Some of this involved sad events. The early death of Jeff Hanneman spurred a lot of soul-searching on the part of metalheads. When the wise elders you’ve always counted on to be there for you, and to figure out the hard stuff, are suddenly gone, you realize you’re the elder now. There’s nothing between you and the cold horizon of the cutting edge. Many people recalculated lives in the blue light of early morning, hiding out in bathrooms and attics where they felt for a few moments the world would not discover them.
Mixing Black Sabbath’s sludge with the guttural roar of Motorhead and adding the jackhammer speed of thrash kings Slayer, death metal bubbled up the 1980s via the decidedly nonmainstream metal underground tape-trading scene. The style then splintered into so many subgenres—black metal, doom metal, stoner rock, grindcore, post-metal—only a metallectual could keep track of them.
Those of us who have labored for years at describing metal find this gratifying; the world is not only awakening to metal, but taking its origins seriously. This is generally seen as a sign of trying to figure out its significance and place within society, which is far different from the “pushing back” of the past. We’re getting the same treatment The Beatles did, just thirty years later and in a lower-key mode.
Along that vein, a new book called Louder Than Hell: The Definitive Oral History of Metal has just been released, and this podcast interviews the writers and metal musicians to peer into metal history. These are nascent efforts, and “definitive” may be premature, but like previous metal books they are a good start toward where we’d like the study of metal to be.
But that was always the point. Slayer wanted to point out that society was based on lies, and our falsehood and pretense made us oblivious to the real and important things going on around us every day. This in fact has always been the message of metal, from Black Sabbath waking up the hippies to Motorhead shocking the world with excess. While this sounds like a mission of destruction, it is in fact a mission of belief in life, and enough love for life’s importance to care about telling the truth.
This fits in with our world’s acceptance of Hessianism. Putting our heads in the sand and chanting kumbaya has failed. Putting our heads down and earning money and hoping we can buy our way out of the decay has failed. Reality is still with us, and it’s bigger than society. In fact, if you know the cliche, “Think outside of the box” — society, or the social process itself, is the box and metal is what sets it aflame and casts us out into the cold and terrifying but thrilling night, full of potential and hidden wonders.
Perhaps the most stunning moment of the ceremony:
The only truly quiet moment came when a letten sent by Hanneman’s wife, Kathryn, was read to the crowd. It was both a love letter to her husband, and a lifelong thank-you card to the Slayer devoted, who made Hanneman’s life what it was. “May you continue to reign in heaven,” she wrote.
For all of its darkness, metal is a vision of light. It is clarity, freedom from lies, but even more, an ability to see the possibility of life before we cover it with our fears of being insufficient, inequal, victimized or just coming up short. Metal is bravery, the kind of bravery that comes of worship of life itself. I hope she’s right, and there is a metal heaven, because it won’t be the static place of the storybooks. It will be a land of constant adventure, of ever-greater quests and challenges, and it will be a place where stout hearts reign for eternity.
While Israel has developed a number of bands in its time, including the time-honored (and all-around good guys) Salem, much of us do not realize how much metal has found a place there. As recent news articles illustrate, the Holy Land is welcoming unholy metal with open arms. Not only that, but Israel is finding a unique voice for itself in heavy metal music.
The first event in this chain is that Dave Lombardo is teaching master classes in Israel, both covering drumming and “his Hispanic background, the Cuban Missile Crisis and Sephardic metal.” Read the rest of the article for a short interview with Lombardo where he discusses fleeing Communism in Cuba, his fascination with heavy metal and the origins of Slayer.
From the lighter fare department comes this story about IDF soldiers who, tired of being awakened by loudspeakers from nearby towns, retaliated with the best weapon in a metalhead’s arsenal… metal! Anyone who fights back against the noise and piety of society by using metal is probably on our wavelength. Specifically, blasting “For Whom the Bell Tolls” from Metallica’s Ride the Lightning should get any metalhead excited.
Finally, Israel’s Orphaned Land is set to release All Is One, and have started by streaming a video for the new song “Our Own Messiah.” The album, recorded in Israel, Turkey and Sweden, “strengthens the Orphaned Land message of unity through music,” and includes over 40 musicians who were used to flesh out the sound with additional choir, violin, viola and cello voices. For more information, visit the Orphaned Land website.
In addition, Orphaned Land are launching their 2013 tour with the following dates:
5.29 – Teatro Odisseia – Rio de Janeiro / Br
5.30 – Hangar 110 – Sao Paulo / Br
6.1 – Roca ‘n’ Roll festival – Varginha / Br
6.7 – C.C.Niza – Lima / Per
6.8 – Teatro Alianza Francesa – Medellin / Co
6.9 – TBA – Bogota / Co
8.9 – Brutal Assault Festival / Cze
8.10 – Artmania Festival – Sibu / Ro
8.16 – Summer Breeze Festival – / Ger
9.20 – Colmar – Le Grillen / Fr
9.21 – Lille – Le Splendid / Fr
9.22 – Tongeren – Sodom Klub / Be
9.24 – Aschaffenburg – Colossal / Ger
9.25 – B – Matrix / Ger
9.26 – Hamburg – Rock N Roll Warehouse / Ger
9.27 – Kobenhavn – Amager Bio Uniting The Powers Of Metal / Dk
To summarize the above, Hanneman was not only central to the Slayer sound but to the spirit of metal. At a time when most bands were trying to be more like pop music in order to be popular, Hanneman pushed Slayer to be more realistic and yet more mythological, joining artists such as J.R.R. Tolkien and John Milton in showing us occult doom all around us based on the degeneracy of modern people. His intense riffs, angular chord progressions, blazing solos and most of all spirit and attitude drove Slayer, and through them metal, to be more than just another flavor of rock. They became otherworldly.
The band issued the following statement:
Jeff Hanneman helped shape Slayer’s uncompromising thrash-metal sound as well as an entire genre of music. His riffs of fury and punk-rock attitude were heard in the songs he wrote, including Slayer classics “Angel of Death,” “Raining Blood,” “South of Heaven” and “War Ensemble.” Hanneman co-founded Slayer with fellow-guitarist Kerry King, bassist Tom Araya and drummer Dave Lombardo in Huntington Park, CA in 1981. For more than 30 years, Hanneman was the band member who stayed out of the spotlight, rarely did interviews, amassed an impressive collection of World War II memorabilia, was with his wife Kathy for nearly three decades, shut off his phone and went incommunicado when he was home from tour, did not want to be on the road too late into any December as Christmas was his favorite holiday, and, from the time he was about 12 years old, woke up every, single day with one thing on his mind: playing the guitar.
It was once suggested to Slayer that if they would write “just one mainstream song that could get on the radio,” they would likely sell millions of records and change the commercial course of their career, similar to what had happened to Metallica with 1993’s “Enter Sandman.” Jeff was the first to draw a line of integrity in the sand, replying, “We’re going to make a Slayer record. If you can get it on the radio, fine, if not, then fuck it.”
Almost two weeks ago, Slayer guitarist Jeff Hanneman died of liver failure in a California hospital. However, like any event involving people who have done important things, his death sent ripples throughout the world.
First, Slayer fans worldwide realized that Slayer is now de facto dead. Formed of the core of Hanneman, Araya, King and Lombardo, Slayer was based on the merging of those talents. It probably cannot survive without any particular one. In addition, although King and Araya made many important contributions, much of the material that gave Slayer character above and beyond its hard and fast style came from Hanneman. Without him, a vital part of the equation will be missing, and it could be one of the parts that made Slayer much more than just their technique.
Second, Slayer is a form of mascot and leader for the underground metal movement. Although this is rarely acknowledge, Slayer was a speed metal (Metallica, Testament, Rigor Mortis) band who used the tremolo strum to make what was musically closer to death metal, evolving from their more “heavy metal” beginnings to an angular and disharmonic nightmare of chromatic riffs and centerless solos. Alongside Bathory and Hellhammer, Slayer invented the modern style of heavy metal, and by their contributed contributions, gave it guidance and a figurehead. When death metal bands got lost in songwriting, they turned to Slayer; even black metal and grindcore bands lift riffs from that vital back catalogue. Slayer is a huge musical force but now is firmly entrenched in the past, not the present.
Finally, Slayer is a symbol of all that is metal, with Hanneman at the front as the innovator of brooding classics such as “South of Heaven” and “At Dawn They Sleep.” His poetic approach to riffs, songs and lyrics made metal rise up from being another genre about personal drama and getting laid, and turned it into a mythological force worthy of J.R.R. Tolkien, William Blake, Mary Shelley, Bram Stoker or John Milton. Punk bands wrote about the decay of society, and hard rock bands like Led Zeppelin wrote about Hobbits and Satan, but Slayer put them together in the same way Black Sabbath’s “War Pigs” did: a mythology underlying existence that explains the shared perceptual confusion that causes us to cause our own problems.
This is why Slayer is important to metal, and to the larger culture beyond it, and why Jeff Hanneman is more than just an excellent songwriter and guitarist. He is part of what made metal, and what made metal a legend. His passing is the end of an era, and the call to us to begin a new one.
With that in mind, we present a compilation of statements by people involved with music who wanted to speak a few words about the power of Jeff Hanneman, Slayer and the importance of those to metal. Some of the following are cribbed from Faceplant or other websites, but all are authentic:
Growing up in a small, West Texas oilfield town, your options were limited: you became a football hero, a juvenile delinquent, or you turned to some form of escapism. Comics, books and most of all, music were my saviors. They became my bulwark against impending suicide. In my early years, Kiss, Judas Priest and AC/DC were my mainstays. Then around ’79 a couple of older friends introduced me to the “Second Wave of Punk”. The Ramones, Sex Pistols, The Stranglers, DEVO, these became my new gods, but I never lost my love of those heavier bands. Living in rural Texas and years before the internet, you were always a few steps behind. You might stumble across a magazine, someones visiting older brother from college, or just word of mouth. So I slowly became aware of the already in full swing Hardcore scene. I quickly developed an affinity for this new aggression: Black Flag, Circle Jerks, Minor Threat, Misfits and Bad Brains. This, to me, seemed the pinnacle of extreme music.
Even in the middle of nowhere, where few of either existed, I noticed the segregation of Metal vs Punk. Though Metal was a guilty pleasure, being young and stupid I still took pride in ridiculing the Metalheads as often as possible. Around the mid-80’s things took a strange turn. The lines were blurred. I was already a young adult slaving away in an oilfield job, on my first marriage with an infant son. My only connection to underground music came every Saturday night at 10PM courtesy of 2 hour radio show on KOCV, the Odessa college student ran radio station. I don’t remember the name of the show, but I do remember the host, Danny Hardcore, a local skate punk with a penchant for all things heavy. It was then I first heard the insanity of Suicidal Tendencies, SOD, Voïvod and….Slayer. And those lads from Huntington Park, CA basically scared the shit out of me. Faster than anything I’d ever heard, the pentagram logo that shook my Southern Baptist sensibilities, and the insanity surrounding everything you could get your hands regarding their fanatical “Slaytanic” following.
I was hooked.
And one of the major catalyst behind this explosion of sound so completely new and unrelenting was Jeff Hanneman. From everything I could learn about him, he was a kindred spirit. I feel totally confident in saying that Metal, Hardcore, Thrash and about 20 other genres of extreme music would not have existed today without Jeff.
When I look back at all of my favorite Slayer songs, I see his hand. Metalheads, especially those that think of themselves as the Stewards of All That Is True, take a particular perverse satisfaction in proclaim everything after “insert favorite here” in the Slayer catalog as shit, but I believe time will tell a different tale. The man will be sorely missed. Whether completely cheesy or in bad taste, tonight I will lift my glass high, raise a toast and give a mighty HAIL to a fallen Hessian who made a difference, and who carved an indelible mark into the history of a music I hold dear.
I am still at a loss for words over Jeff’s passing. Slayer along with Metallica, Raven, Anvil, Venom, Overkill and others were some of the early bands I fell in love with and really got me started into the underground metal scene. The first time I saw Slayer live was in 1985 on the “Hell Awaits” tour at Lamour’s in Brooklyn, NY. They completely blew me away with the speed and intensity of their music. In 1986 I saw them on their ‘Reign in Blood” tour in Trenton, NJ at City Gardens and I dove off the stage during ‘Chemical Warfare” and almost broke my back as I couldn’t walk for over 3 days!!! Slayer has always been one of my favorite bands and hands down in my opinion they are easily the best underground metal live band that I have ever seen and I have been going to shows since 1984. I never met Jeff, but his bands music have been a big part of my life and will be for years to come. Hell when I need some pick me up music at the gym….it is “Hell Awaits” time. I never got to meet Jeff, but his music will live on with me for the rest of my life and Jeff RIP my man and thanks to you and your music for taking me along this incredible ride of underground metal music which will be planted in brain for as long as I live and your band and music were big part of in the beginning and are still a big part today….”FUCKIN SLAYER”…….
– Chris Forbes, Metal Core Fanzine
Thrash Metal lost one of it s best man! The Hell awaits – tour 1985 (where the pic with drunk me is from) was one of the most important tours in our career – thanx for the great memories Jeff! What a loss for the scene! Rest in Piece brother! – Schmier, Destruction
For a lot of us Metalheads back in the late 80’s and early 90’s, Slayer was like benchmark which we set by default and compared (mostly times unjustly) other bands for their intensity,song writing abilities and aggression.The first 5 albums by this legendary band were always placed right on top,any beer table conversation had to veer its way around and come back to Slayer,the reference point always hovered around them and for a lot of kids who were into Hard Rock or Heavy Metal, the threshold moment of crossing over into the heavier,darker and more extreme realms had to be with “Hell Awaits” or “Reign In Blood”. Those who passed the test were branded for life,”Slayer” permanently tattooed on their foreheads,the passing of Jeff Hanneman is the end of an era and unfortunately Slayer never will be the same again,Jeff will forever be immortal in the hearts of the fans, may the riffmeister rest in peace. – Vikram/Dying Embrace, India
Jeff Hanneman shouldered the revolution of heavy music with a unique and original approach on the instrument, influencing a horde of musicians to follow in his tracks at the same time. His riffs, lyrics and songs are some of the band’s best and the genre’s fiercest. His contributions are enormous and should be celebrated and hailed! – Eric Massicotte
What separated Jeff from the rest of the metal pack was his rhythm technique, his songwriting, and that for which he will be most remembered—his riffs. But his frenzied, turbulent solos were also an important part of the package. They weren’t about showing off. They served a greater artistic purpose—to sonically channel the qualities of Slayer’s lyrical content. They were sometimes abrasive, sometimes jarring, and at times disturbing. They had less in common with typical rock-guitar virtuosos than they did with the sonic collages of avant-garde improvisers such as Derek Bailey and John Zorn, the latter of whom is a self-professed Slayer fan who has cited the band as an inspiration. Though Jeff’s wider, more holistic guitar approach didn’t garner the same accolades as some of his more technically proficient contemporaries, Jeff never waivered from his original approach. And the fact that he continued to attack his guitar with relentless abandon—as though he were a linebacker on his beloved Oakland Raiders (whose logo adorned some of his signature ESP guitars)—is without a doubt a big part of why Slayer’s music will always be deemed one of metal’s high watermarks.
If you’ve ever seen Slayer live, you’ve felt exactly what propelled the band’s popularity past those of Venom and other classic-metal influences. In fact, prior to Hanneman and his bandmates’ groundbreaking albums—including 1986’s bar-setting Reign in Blood—many believed metal could never reach such levels of popularity and fan dedication. Before Slayer, metal had never had such razor-sharp articulation, tightness, and balance between sound and stops. This all-out sonic assault was about the shock, the screams, the drums, and—again, most importantly—the riffs. And it was Hanneman who brought so many of the band’s timeless riffs.
– Alex Skolnick, Testament
The only other band that completely changed my life. Without Venom or Slayer there would be no Kult ov Azazel or any of the music I have created since my teenage years as they were the first two bands I discovered and I was a rabid fan. As crazy as it will sound those two bands molded me into who I am today. I can remember walking around my Bartlett neighborhood with a ghetto blaster and blaring this album at top volume. Even listening to this brings back a flood of those memories. – Julian Hollowell, Kult of Azazel, Von
I need to shed some more life on one of the greatest guitar players that has walked this earth and that has truly inspired what i do today.Jeff Hanneman R.I.P. I walked off stage in Paris France on Thursday night to find out that one of my hero,s was no longer with us.He was the heart soul and attitude that was Slayer.Many people would often ask to describe my guitar playing and i would say Hanneman meets Denner.He was the real deal not this rock star poser type unlike Mr King.Slayer dies for good with Jeff and i have not stopped thinking these past few days while in Europe how much his music has meant to me.Last night Johnny from Unleashed made a honorable toast to Jeff Hannaman and i tell you it really chocked me up.Not many greats in the world today and he was one of the rare breed that created his own path in this life.Long live Jeff Hanneman his spirit lives on forever. – Alex Bouks, Incantation, Goreaphobia