Hey, did you notice how bad 1990s was to metal music (to more known bands, at least)? Grunge and nu-metal emerged; say no more! If you were a metalhead through those turbulent times, of course the effect was totally felt. Even Slayer turned, or were commanded to turn towards studio crew who mostly came outside metal music, and perhaps that way forced to yield to 1990s alternative rock sounds.

Let's begin from the package, because... it has signs... The band logo looks something completely different, starting with a section sign (§). The cover art which consists of black and white photography that might be upsetting and ghastly to some eyes, doesn't scream "SLAYER." Not at all. The title of the album does, though. However, the signs are there in the open.

When hearing this, it is clear that it's Slayer playing; they just sound Slayer together, no doubt about that (even though it is Paul Bostaph again behind the kit). Even if the music is mostly a lot slower than Slayer at their fastest, it still can be tight at best here. However, so often it is stripped of that anger, that motherfucking slaying fury. It is still loud, okay, but it sounds like guys were feeling the sun in their jacuzzis, probably having some beers or enjoying family company, and forgot to feel angry. The anger level isn't higher than, let's say, Mudvayne, on the nu-tinged songs. So, I presume it was told by the band's management or record label to make some sonics that would make nu-metal fanatics throw down their burgers and put on the hood and go sway to this. Wouldn't have been the first time, nor the last...

I never wanted Slayer to go and sound Korn-ish. The other way around would have been okay. And hey, I can enjoy some early Korn. It's just a bad marriage here, this way around. I mean I've commanded my brain to act like I wasn't listening to Slayer here, but it cannot be done. When I get closest to that point, I can enjoy them looser beats, but I really cannot enjoy the most simplistic guitar work. Bostaph does fine, even during the slowest parts, plus he's throwing out loads of different beats and tricks. Bad ass guy! But those guitaaarrrrrghs: If former Slayer stuff was made by engineers, the simple stuff here was on caveman-level in comparison. The drums feel alive, the guitars feel lame for a big time, even though there are some old school shredding happening.

While there are some good riffs and melody processions here, about all of them pale when contrasting to past music from the band. This is the Slayer album where they began to rehash their stuff. The opener, 'Bitter Peace' penned by Jeff Hanneman, has a slow start, but explodes into a typical Slayer song, which I like; it is one of the most energetic and vicious things packed herein (yep, those more familiar-sounding bits can be angry... or angry-ish). But alas, it is already the second track (also by Hanneman) where things get so much more blunt and cleansed, and this time with slow ending which really does not fit with the first part. It contains some bits that try to be as evil as 'Dead Skin Mask', but fuck no (for another example, try 'Desire'; partly with similar vocals even). 'Stain of Mind', the first Kerry King song is more nu-metal tinted with its funky (?!) groove. And the vocals, then... Tom Araya (also on bass guitar) is in his old beastly form at times, but then we also got more suitable rhythmic spoken vocals, too. On more like a rap/metal song hybrid, 'Overt Enemy', the vocals are effected. You can expect loads of guitar effects/sounds, too, and often from the domain of nu-metal and alternative rock...

So, what we got was a less vicious and cleaned-up Slayer, even though 'Perversions of Pain' and 'Scrum' are like simplified tracks in previous album's vein. Even the lyrics seem somewhat less brutal, even though war and sick human minds make the main content. This has some better moments, but not a whole song is such. I can listen to this, but together with its sequel, 2001's 'God Hates Us All', it's often left on shelf. The production is raw-ish and of the band's heaviest up to this album. Not as raw as 'Divine Intervention', though. The sound is considerably different when the band do caveman-stuff. Some of the drums sound rubbery (like toms with loose skins, plus kick drums), as does the bass. Then add them guitar effects... Feel like listening to some lost songs of "Judgment Night" soundtrack. It's a weird production. Who knows, maybe the band themselves wanted to try something different, and not the record label money makers.

1994's 'Divine Intervention' was a change in Slayer's sound, due to Dave Lombardo leaving. It was a brutal slab of wrath, if you ask me. I think none of their fans expected the band go partly nu and this modern after that album. Well, it happened and left a big stain in minds of many, many Slayer fanatic. The band never returned to their former high levels again, even though they did put out a couple of considerably better albums. Easy to point out now, but that's how it went, and since guitarist Hanneman isn't in this level of existence anymore, we probably won't hear more from Slayer. If this had a different band name (or performers) on it, I think it would have been welcomed much better. I have undeniably heard worse things...

Rating: 6 (out of 10) ratings explained

Reviewed by Lane
01/06/2022 11:50