“Thrash metal” is a genre of metal characterised by speed, aggression, and riffs. It combines the heaviness and complexity of (then) traditional metal but fuses it with the intense, single-minded speed and attitude of hardcore punk. In the ‘80s and ‘90s, when thrash metal was having its heyday, the U.S. thrash metal scene was dominated by the so-called “big four” of thrash metal, Metallic, Megadeath, Slayer, and Anthrax.
Of the big four, I have always been an unapologetic Metallica stan, with a respectful appreciation of Megadeath on the side. However, I have never really been into Slayer, even mentally dismissing them as a band worth checking out, though for no real reason other than lack of exposure. As I was to find out, this was my loss. Slayer are fantastic.
As most readers are probably most familiar with Metallica (if with any of these bands), a comparison between them will be instructive. The primary difference between Slayer and Metallica can mostly be chalked up to the following: Metallica, at least after Kill ‘Em All (but even there), like to take an epic, almost operatic approach to their music. Their songs have this broad, sweeping scope, separate movements, and, amongst the carnage, a real focus on melody. Slayer, in contrast, have no such aims. Their sound is much more primal, almost wholly rhythmic, and cares almost exclusively for speed, aggression, and riffs, in a way that takes them much closer to punk than Metallica ever gets. (Or, to put in black metal terms, they are the Darkthrone to Metallica’s Emperor.)
It is impossible to understate how much this is the case on Reign in Blood, which feels like it exists to do exactly one thing, in one way, with crystal clear production and absolute technical precision: crush. And at around 28 relentless minutes long, it utterly succeeds in doing so. Being made up of 10 songs means that almost every song is less than three minutes long, with the only two longer than this bookending the album. This means that most of the songs are basically the pursuit of a single musical idea in a single frenzied burst.
Of course, there are also, within the songs, what I have previously likened to ‘beat-switches’ in hip-hop: moments in the songs where the riff suddenly switches to something slightly, or wholly different, keeping things interesting through the introduction of novel grooves. Yet these complement what comes before more than they break with it.
The blindingly quick solos—in both notes per second, and duration (their often being only around 10 to 20 seconds long)—such as those on Necrophobic, Altar of Sacrifice, and Reborn, emerge so naturally out of the music that they sound like the inevitable result of it boiling over more than the ‘epic’ centrepiece of the song that you are supposed to think is really cool (something I sometimes find off-putting about Metallica).
Indeed, the shortness of each song, their lack of internal development, and their singularity of vision all coming together to form a unified tapestry make this album a great candidate for being interlude music, practically ticking every box.
Not great for parties, or the beach, but try listening at the gym, on your run, or while walking intently.
- Rowan
Recommended Songs: Angel of Death, Necrophobic, Altar of Sacrifice
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