ARTIST: Slayer
ALBUM: Repentless
LABEL: Nuclear Blast
RELEASE DATE: September 11, 2015
Keepin’ It Metal
Written by Silas Valentino
You can’t get much heavier, bigger or more authentic than Slayer. Since the early Eighties, the trash foursome have commanded heavy metal and their discography reads like benchmarks in the genres’ progression: Reign In Blood (1986), Seasons in the Abyss (1990) and God Hates Us All (2001), each album is a landmark in metal’s supremacy. 34 years into their career, Slayer release Repentless – their 12th album – a testament to their unbroken craft. What’s made clear over its 12 songs and 42 minutes is the undying grip Slayer has over their metal monarchy.
Repentless racks up a couple of firsts for Slayer both good and unfortunate. Fans will notice the disappearance of the upside down American flag logo on the CD booklet and that’s due to Slayer’s ditching of their Rick Rubin-headed label American Recordings for the independent, German-based label Nuclear Blast. This album is also the first to feature drummer Paul Bostaph since 2001’s God Hates Us All. Yet at the core of Repentless’ list of firsts is the unfortunate absence of founding guitarist Jeff Hanneman who passed in May of 2013. His legacy is upheld through the album highlight “Piano Wire” and Slayer’s decision to continue on with the band. Alongside other guitarist Kerry King, Hanneman harnessed the band’s sound of wailing guitar solos and relentless riffing. Filling his big shoes is Gary Holt of Exodus who does a fine job supporting the group amid crises.
The snake charmer opener “Delusions Of Saviour” begins Repentless with an almost Eastern music-inspired riff that steadily grows until it ultimately sounds like the theme song from Top Gun, except in this version Maverick perishes alongside Goose. It’s the shortest moment of the album but serves as an introduction into Repentless – both the album as well as title track which follows. “Repentless” engages the tendency in all of us to begin compulsively shaking with that heavy metal mash. That uncontrollable urge to shove and joust your way through the most pit is activated by the rumbling palm-muted riffs from the official guitar King of metal. Bassist and singer Tom Araya complements the fury with explosive lyrics and sentiments and the band hushes up when he claims: “We’re killing ourselves a little more everyday” during the song’s peak.
Serving as Repentless’ centerpiece is “When The Stillness Comes” which jerks from calm to calamity throughout its brutal 4:21 length, making it the longest song of the album along with “You Against You.” The opening guitar riff is peppered with some deranged phaser pedal but 45 seconds is all it takes until the overtone erupts and drags the riff down to some crypt of the dammed. “The last thing you see are my eyes,” informs Araya with his signature howl. It’s grim, harsh and unforgiving – all the finest ingredients of a Slayer last supper.
The Hanneman-penned “Piano Wire” is also his eulogy and is marked by its expert guitar structuring that serves as a indication to the guitarist’s songwriting ability. The downward spiraling of notes that lead into the chorus are the church bells of doom while the Judas Priest-esk spray of guitar that kills the solo act as a tribute to one of his heroes. Araya offers a moment of comfort when he deems, “The music will relieve,” giving Hanneman’s ghost a peaceful rest.
Slayer was struck with tragedy during the six years between 2009’s World Painted Blood and Repentless but the fact they’re able to chug through proves they’re rightful bearers of the metal flag. Even though he’s gone, Hanneman would have wanted Slayer to fight forward and with Repentless, they do just that.