Slayer was one of the last heavy metal bands capable of terrorising conservative circles, all while selling a lot of records. They also were thrash and speed metal pioneers and their albums rank as some of the best in the genre.
It’s hard not to be impressed by Slayer. I certainly was. Part of that was due to the punk attitude and their evil imagery. But teenage fascination aside, I was stunned by their musical ability. The band creates highly structured musical chaos.
I find Slayer to be part metal symphony and part horror-movie provocation. Put together, this makes for one of the most important bands in rock music. That’s why today I’m adjusting my appetite for gore, preparing my eardrums, and delving into Slayer’s discography in order to rank their albums from worst to best.
12. “Show No Mercy” (1983)
“Show No Mercy” displays Slayer’s penchant for turbo-speed metal and provocation. However, this isn’t a snapshot of a fully formed band.
Tracks like “Black Magic,” “The Antichrist,” or “Tormentor” certainly sound like they belong to the Slayer discography. Musically, as well, there are traces of the characteristics that would dominate future releases.
Thrash contemporaries like Metallica had already brought in elements of punk and NWOBHM into their sound. Slayer, meanwhile, here, displays its love for Venom’s sound and aesthetic on the debut album “Show No Mercy.”
11. “Repentless” (2015)
Every horror movie needs a powerful ending, and Slayer delivered theirs with 2015’s “Repentless.”
While it is not one of their most exciting albums, “Repentless” is something of a victory lap.
Slayer had been forced to bring Exodus’ Gary Holt to replace Jeff Hanneman after his death. And they’d then brought Paul Bostaph back in to replace Dave Lombardo.
But Kerry King and Tom Araya proved that they were going to be the ones deciding when Slayer had to end.
They picked “Repentless,” an album that, for the most part, I find, sounds like a classic thrash metal record. The aggression and hostility, calling cards for this legendary band, aren’t as impressive here. But the album displays great professionalism. And Holt and King’s guitar interplay is interesting throughout.
The title track or “Cast the First Stone” can make it easily onto fan playlists of the band’s best work.
While not great, if, indeed, “Repentless” ends up being Slayer’s final album, it’s a nice summation of their work as a group.
10. “Diabolus in Musica” (1998)
“Diabolus in Musica” finds Slayer adding modern elements to the trademark style they had established. Those, however, don’t offer much clear musical progression.
One couldn’t exactly blame King and Hanneman for staking new territory after 15 years of musical releases. “Diabolus in Musica” departed from Slayer’s traditional thrash metal sound and incorporated elements of nu-metal and alternative metal.
If I had to pick songs to highlight, those would be “Love to Hate” and “Stain of Mind.” Still, like horror-movie classics, Slayer records work best when the atmosphere is absorbed in its entirety.
Fans still argue about the album’s artistic direction. Heard in retrospect, there’s less bandwagon-jumping than reputation would have you believe.
9. “Hell Awaits” (1984)
Like Metallica, Slayer took a giant leap between its debut and sophomore album. “Hell Awaits” dares to push thrash metal forward by adding a new layer of musical chaos.
Some of it organised, some of it less so. However, I suppose all of this adds to the impression that the quartet is composing a soundtrack to Hieronymous Bosch’s apocalyptic paintings.
On “Crypts of Eternity,” “Necrophiliac,” and “Hell Awaits” the band shows it means business and little of the Venom-like posturing of the debut can be traced back to it.
I think that, more than anything, the album crystallised the band’s vision as equal parts merchants of thrash and horror motifs.
8. “Undisputed Attitude” (1996)
Slayer provides a rare glimpse into its musical influences with this collection of covers.
For the most part, while surprising for some, “Undisputed Attitude” includes songs that befit Slayer’s sound and style. The Stooges, Minor Threat and Dr Know sound great, especially with Paul Bostaph’s drums driving them forward.
“Undisputed Attitude” showed that Slayer were just as much ambassadors for thrash metal as they were descendants of hardcore punk.
7. “God Hates Us All” (2001)
“God Hates Us All” is the most intense thrash metal assault that Slayer has delivered in many years. It was a direct reaction to the muted response they’d received from fans over their previous work, “Diabolus in Musica.”
The intensity of the playing feels particularly poignant given the time at which it was released. “God Hates Us All” appeared just after the September 11 terrorist attacks and caused some controversy in the U.S.
Musically, the band is in fine form. Paul Bostaph, the band’s new drummer, is quickly integrated into the fold. And songs like “Bloodline” and “Disciple” are some of Slayer’s frightful, chaotic best.
6. “Divine Intervention” (1994)
Slayer had spent more time in between releases than they ever had before. When “Divine Intervention” arrived in 1994, it assured longtime devotees that the band’s mission hadn’t changed.
The band, particularly Hanneman and King’s lyrics, still deals with the darkest of topics. And I dare say that the carnival of carnage is believable still.
“Serenity in Murder,” “Killing Fields”, and “Divine Intervention” are career highlights.
The band had refused to change with the times. Slayer was not incorporating grunge or industrial metal. And their fans were pleased with this decision.
5. “World Painted Blood” (2009)
On Jeff Hanemann’s final studio album, “World Painted Blood,” Slayer deliver a call back to their most famous musical moments.
Comparisons to “Reign in Blood” aren’t only hinted at. They are invited. Few metal bands had created a legacy as enviable as Slayer.
While the album is more dynamic than other releases by the band, it is when they venture into maniacal thrash metal that they are at their best. Songs like “Public Display of Dismemberment” are an example of this.
As it would turn out, “World Painted Blood” was the final album recorded by Slayer with its original line-up. And, while it doesn’t surprise, it is a worthy send-off to a unique metal outfit.
4. “Christ Illusion” (2006)
Slayer was never about musical or lyrical subtlety. On “Christ Illusion”, they attempt to push their sound and lyrics toward pure pandemonium.
Naturally, this got Slayer noticed not only by fans. Songs like “Jihad” or the album’s artwork now made the band members the targets of more than one religious group.
Musically, however, Dave Lombardo’s rejoining of the band seems to have added a newfound sense of purpose. Everyone’s playing is at its best, and Tom Araya delivers one of his best vocal contributions to a Slayer album.
“Eyes of the Insane,” “Cult,” or “Jihad” proves that there’s still fuel in the tank and that Slayer can find a new way of assembling older ideas.
3. “South of Heaven” (1988)
Slayer wasn’t the only metal band focused on the occult, hell and bloody carnage. Certainly not. I guess that they were just the most believable.
Musically, “South of Heaven” picks up where “Reign in Blood” ended. The band is still working towards being the heaviest version of itself.
However, there’s more dynamism here. Some sludgy riffs almost venture into Black Sabbath or stoner rock territory. And Rick Rubin’s production adds a new gloss of slickness.
However, overall, “South of Heaven” continues Slayer’s terrifying legacy.
2. “Seasons in the Abyss” (1990)
Slayer was part of thrash metal’s big four. But their individual sonic assault and imagery had also become a recognisable brand outside the genre. “Seasons in the Abyss” works to further establish those trademarks.
Musically, the band has found a way of incorporating more heavy metal influences more seamlessly. For example, “Dead Skin Mask” and the title track tread on mid-paced, moody musical territory.
When they do play up to their thrash roots, Kerry King and his bandmates are extremely efficient. This can be observed with “War Ensemble,” whose music video was played by MTV and earned the band new fans.
1. “Reign in Blood” (1986)
“Reign in Blood” allowed Slayer to refine the dark imagery they had cultivated on “Hell Awaits,” while adding new musical complexity.
You may occasionally giggle when watching an old horror movie. But I’m hardly breathing when hearing “Reign in Blood.” Slayer managed to work its Prophets of Doom image to a tee on this one.
Musically, this is often fantastic. Like experimental jazz, this should sound like nonsense to a novice, and highly structured musical mayhem to a true fan.
The guitar interplay between Kerry King and Jeff Hanemann is a particular highlight on “Reign in Blood,” one of metal’s proudest moments.
God Hates Us All was actually released, unfortunately coincidentally, on Tuesday September 11. Back then, album releases were on Tuesdays. Another odd, and even more unfortunately coincidental release that day, was Dream Theater’s Live Scenes From New York. Its original album art featured their burning heart logo of the ’90s being replaced by a burning apple with the Twin Towers silhouette in the flames.