South of Heaven by Slayer
South of Heaven is the fourth studio album by American thrash metal band Slayer. Released on July 5, 1988, the album was the band's second collaboration with record producer Rick Rubin, whose production skills on Slayer's previous album Reign in Blood had helped the band's sound evolve. South of Heaven was Slayer's second album to enter the Billboard 200, and its last to be released by Def Jam Recordings, although the album became an American Recordings album after Rick Rubin ended his partnership with Russell Simmons. It was one of only two Def Jam titles to be distributed by Geffen Records through Warner Bros. Records because of original distributor Columbia Records's refusal to release work by the band. The release peaked at number 57 and in 1992 was awarded a gold certification by the Recording Industry Association of America. In order to offset the pace of the group's previous album, Slayer deliberately slowed down the album's tempo. In contrast to their previous albums, the band utilized undistorted guitars and toned-down vocals. While some critics praised this musical change, others—more accustomed to the style of earlier releases—were disappointed. Despite this, the songs "Mandatory Suicide" and the title track became permanent features of the band's live setlist.
After breaking the thrash speed barrier with 1986’s <i>Reign in Blood</i>, Slayer had no choice but to slow their roll on <i>South of Heaven</i>. Released in 1988, the album may not have given listeners whiplash, but it’s far more sinister than anything the band recorded prior. Written largely by guitarist Jeff Hanneman, <i>South of Heaven</i> is the only Slayer album on which the band deliberately did something different. As they’ve said in interviews, they knew they couldn’t top <i>Reign in Blood</i> for sheer speed and ferocity. They made up for it with atmospheric malevolence. The title track sets the menacing tone with an evil opening riff before the inevitable plunge into hell—the earthly one. Vocalist Tom Araya describes the descent of mankind (“Chaos rampant, an age of distrust”) in the pre-chorus, but delivers the forgone conclusion in the opening verse: “Before you see the light, you must die!” Wipe away the vocals, and the song is downright cinematic. “South of Heaven” would’ve been a killer soundtrack to <i>Child’s Play</i>, <i>Pumpkinhead</i>, <i>Monkey Shines</i>—or any of the other horror flicks that hit the big screen that year. Drummer Dave Lombardo’s dizzying drums ride high in the mix here, but in no way obscure the sheer unholiness of the guitars. Lyrically, Slayer revisit the horrors of war on “Behind the Crooked Cross”, “Ghosts of War” and “Mandatory Suicide”, the latter of which also features one of the album’s most diabolical riffs. “Read Between the Lies” continues the band’s anti-religious crusade, while a ripping cover of Judas Priest’s “Dissident Aggressor” pays tribute to guitarist Kerry King’s favourite band. And “Spill the Blood”, the slowest song on the album, spins a tale of demonic possession with Slayer’s first recorded instance of non-distorted guitars. It’s the dawn of their slow-and-sinister era, one that would continue on 1990’s <i>Seasons in the Abyss</i>.
