Artist: Slayer
Label: American Recordings
Release Date: 9/11/01
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Title: God Hates Us All Artist: Slayer Label: American Recordings Release Date: 9/11/01 |
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Abyss's Review:
What a difference a week makes. I had been awaiting September 11, 2001 for what seemed like an eternity. I didn’t at the time, however, think it would be a day I’d never forget. Slayer’s new album had been delayed countless times (Oh, okay, more like three times), and I was rife with anticipation. This album will, now and forever, be associated with that fateful day, the day I found out what true hate was. I’ve found myself rewriting this review numerous time, as I didn’t realize how hard it would be to concentrate on writing with all that’s going on around me. So I’ve decided to go straight to the music, and I hope that this writing finds you and yours healthy and safe.
"I had been awaiting September 11, 2001 for what seemed like an eternity." This album will be scrutinized in much the same way the recent Megadeth album was, as they are both 80s metal powerhouses that are considered past their prime. And while Slayer’s Diabolus in Musica, was not nearly the tragedy that Risk was, many considered it to be a disappointment. I was not one of those people, however, if I had reviewed it I probably would have given it 3 skulls: a good, but somewhat flawed album. I think we’ve all been resigned to the fact that Slayer’s best is probably behind them, but the fact is that they are still making great records. The “nu”- metal aspect that seemed to be creeping into their sound on Diabolus, remains in the background of this album, but it doesn’t seem to have applied itself any further. (Phew!)
For those of you who have heard the Dracula 2000 soundtrack, the song “Bloodline” is a good example of what to expect. I personally love the song, and think it’s one of the best on this album. But it is by no means alone. With the exception of a few stinkers (“Threshold”, “War Zone”, and “Payback” spring to mind), this album is just what I was hoping for. And while it is by no means my favorite, I like it about as much as Divine Intervention (although it sounds completely different).
"There really isn’t any way to put this album down without invoking the names of their earlier work." While the riffs on this album aren’t as memorable as the classics, they are solid and (for the most part) telltale Slayer. Actually with the exception of the crappy tracks listed above, I really dig every other song on this disc. Lyrically the band returns to the anti-Christian dogma themes that were more prevalent in their earlier work, and while they are less over the top (musically and lyrically) than they were, they’ve come up with a very mature work for the most part. There really isn’t any way to put this album down without invoking the names of their earlier work, and this disc stands proudly amongst the younger, more vibrant bands of today. Of course, I bet a lot of other critics are going to disagree with me on this one. One word review: Awesome.
Death's Review:
"Pessimist, terrorist targeting the next mark, global chaos feeding on hysteria... sounds a lot like hell is spreading all the time, I’m waiting for the day the whole world fuckin’ dies... man made virus infecting the world... self-destruct human time bomb."
--- "Disciple" I write with new perspective this week. A Manhattan resident critiquing an album entitled God Hates Us All that was released on September 11, 2001. Two weeks ago, none of us would have understood that. Today, we all do.
Slayer has unleashed its first new album since 1998’s Diabolus in Musica. Thus we once again commence assuring the underground metal masses that Slayer has not sold out. Yes, Slayer play Ozzfest and get mentioned on MTV News. Yes, their new album is reviewed in the new Entertainment Weekly [B+, I might add]. And yes, Slayer far too frequently appear on bad horror movie and wrestling league soundtracks. But they’re fucking Slayer. And on God Hates Us All, they appear to be inspired again. Tom sings with emotion and aggressiveness. The songs are dramatic and interesting. The production sounds modern but in a warm, cool way. True metalheads in 1986 would have loved it.
"True metalheads in 1986 would have loved it." God Hates Us All is surely not the bullshit nu-metal you’d have expected to hear if you’d been surfing the heavy metal newsgroups with any frequency in months leading up to its release. Slayer has once again delivered the goods with a classic-style, sick thrash/punk, twisted Tom Araya scream-fest filled with killer double-bass drums and huge fills and rock ride sixteenth notes, headbobbing riffs and Slayer-sounding darkly melodic guitar phrases, wild, dive-bombing Slayer- style guitar solos, fucked up lyrics, dramatic songwriting and occasional fits of the classic speed. In fact, God Hates Us All sounds infinitely more like Divine Intervention mixed with Seasons in the Abyss than like Korn, Limp Bizkit and Linkin Park combined. Slayer are metal. Those others are not.
God Hates Us All is a good-to-great Slayer record. It is a classic if recorded by another band without such a heavy legacy to live up to. It is immediately better than Diabolus in Musica, a record that, although it is probably Slayer’s worst studio album of original material, I pretty much liked it anyway. But God Hates is better than that, it is Slayer as you remember them . . .
"Slayer has once again delivered the goods with a classic-style, sick thrash/punk, twisted Tom Araya scream-fest..." . . . only with a few surprises. There are a few spots on the record that - under the modern commercial regime- could almost be interpreted as rapping (the same way that you could have said that about “Love to Hate,” in my opinion one of the better songs on Diabolus), except that long-time Slayer fans know that Araya has rattled off lyrics in that manner for close to twenty years. Perhaps the impression is heightened by the fact that God Hates Us All is an extraordinarily well- produced 2001 thrash/speed metal album, sounding like it was the product of either a much bigger recording budget than most metal bands get in 2001 or just sheer studio experience. Either way, it sounds killer to me, but some might hear it as a bit too polished. These are nitpicks. But this is Slayer. We have to pick it apart, don’t we?
Many of the tracks do exude a certain sameness, often leaving the listener with the same general feel. Yet this “consistency” feels right here: it echoes the steady and solid course Slayer has taken throughout its career. You’d be pissed at Slayer if they changed, even if you are bored with the fact that they do not. Slayer are the AC/DC of thrash metal. Once you’ve given God Hates Us All a good listen ask yourself whether a year ago you’d have guessed that Judas Priest’s new album would be more nu-metal than Slayer’s. Wow. What happened there? You gotta hand it to Slayer, they continue to one-up our expectations and come up metal in the face of their detractors.
It’s hard to explain what they’ve done differently with this record, it’s subtle. They’ve tweaked the punk quotient a bit, but in a good way that provides a more direct platform for Araya’s vocal delivery. Tom’s voice sounds pretty killer throughout this record. He tries a few different moves, but for the most part stays true to his usual (if somehow more charismatic and expressive in the midst of this clear production) maniacal self only more forthright. The riffs and song structures, guitar sound and tightness of the performances simply need to provide the bed. God Hates has given us killer, fresh-sounding-for-Slayer tracks, but certainly cut from the same cloth as tracks like “Disciple,” “Exile” and “Seven Faces”. It is definitely a five skull record. Where does it rank in the Slayer catalogue? Way too early to tell. But for now, it is easily one of my top ten of 2001, and I can imagine it will have a hard time leaving my 6-CD chager for weeks to come.
"Ask yourself whether a year ago you’d have guessed that Judas Priest’s new album would be more nu-metal than Slayer’s. Wow. What happened there?." If you really don’t like Slayer, or are just such a “darker-than-you” fuck that you’d never stoop so low as to actually have fun listening to something “commercial” like the new Slayer record, then fuck it, you’ve missed the point and there’s no sense trying to convince you. But for the rest of you out there, the Slayer fans in all of us, trust me, you’ll like it. It doesn’t suck. And it isn’t a complete rehash either. What else can I say? The fucking terrorists tried to stop you from getting to the store to get it, but trust me, this one’s worth the trip.
Hel's Review:
The long-awaited event every diehard metalhead has been anticipating for years is upon us - the new Slayer album is now available for purchase. It is more than a little intimidating for me to review it, after all, who the hell am I to judge the mighty Slayer? Oh yeah, a music critic…
After last week, this album takes on a lyrical significance the band could have never imagined. In light of the devastation visited upon my fair city and my country, it becomes easier than ever to believe that God may indeed hate us all. Certainly it could be argued that it is a reasonable explanation for what has occurred. Throughout the album, there are a number of phrases that are vaguely prophetic in retrospect. These lyrics from "Here Comes the Pain" are very on-point:
"Sure, there's a subtle undercurrent, but overall, the album is remarkably nu-metal free." Step aside for the nightmare
Pure destruction stands before you
No escape as the psycho
Brings you misery
The line starts here.Chillingly, bizarrely prophetic. Combine that with the uncanny coincidence that it was released on the very day of the attacks and you could downright scare yourself. And the more liberally you interpret them, the more you can make them fit the scenario. Truth be told, it is clearly all a coincidence, but it's creepy nonetheless.
All right, now that I have that out of my system&3133 The guitar solos, drum fills, and overall structure (including most riffs) are classic Slayer. Truth be told, in many places it is as if they never strayed from this mold. On the whole it is an enjoyable new Slayer album. There are a few weak spots. Primarily troubling to me are: 1) the inclusion of the song which was on the Dracula 2000 movie soundtrack; and 2) the nu-metal influence which shows through occasionally.
I believe that songs released on movie soundtracks should never be tacked onto a new studio album, regardless of who the band is. It is a cheap ploy to fill space and not include another new song. I always feel like they're trying to slip one past us. Re-release it on an EP, put it on a b-side, add it as a hidden track, but don't try to pass it off as new. Write this off as a pet peeve if you like, but it bugs me. Plus, at this point I'm a little sick it - let's face it, it's an old song!
"They didn't fuck it up. It's not the most incredible Slayer album either, but I reiterate, this is Slayer for satan's sake! ." We all know Slayer has been hanging around with a lot of nu-metal bands lately. I was pretty convinced they were going to show up around the bonfire with Sevendust. And some bands let themselves be suckered in by this <*cough*Sepultura*cough*> - after all, lots of people are coming to the shows, so it must be cool. Whether or not it truly is cool is a separate debate, but for the purposes of this argument, it's not. Slayer did not fall prey to this as others have fortunately. Sure, there's a subtle undercurrent, but overall, the album is remarkably nu-metal free.
You have to go out and buy God Hates Us All if you haven't already. We're talking Slayer for satan's sake! They didn't fuck it up. It's not the most incredible Slayer album either, but I reiterate, this is Slayer for satan's sake! The only other criticism I can come up with is that there is a certain sameness to many of the tracks. But I imagine it's hard to strike that balance. In any event, buy it - it's the new Slayer for satan's sake!
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