IN REVIEW: Slayer - "Repentless"
That might be hard for fans to take, but by the same token I seriously doubt a high percentage of fans who are asked to name their favourite Slayer album will name one that came out after Seasons in the Abyss. That trilogy of Rick Rubin-produced records (starting with 1986's indisputable landmark metal masterpiece Reign in Blood) was a clear period of domination commercially and artistically, and the six albums that have followed have experienced varying degrees of failure in comparison.
With the passing of Jeff Hanneman (replaced on this record in limited capacity by Exodus' Gary Holt) and the second departure of Dave Lombardo (and the second arrival of Paul Bostaph), not to mention Slayer's signing with Nuclear Blast, it's not surprising that Repentless is informed by the chaos that surrounded the band. That said, it may be the most diverse record in Slayer's catalogue, as tempos and tones shift throughout; one of the last songs Hanneman contributed to the band (Piano Wire) is included, sandwiched between the angry but forgettable Implode and the punk-inspired Atrocity Vendor. Taken with the slower tunes, of which there are a few, Repentless doesn't offer much in the way of flow.
What it does purport to offer is shock value, from the oh so blasphemous cover to the ham-fisted attempts at controversial lyrics. The thing is, Slayer has done both so much better before. With Kerry King in charge of writing pretty much the entirety of this record, there are plenty of eye rollers on the lyric sheet. Vices boasts the laughably memorable line, "A little violence is the ultimate drug / Let's get high!". Cast the First Stone ticks off the box beside "song about war", while When the Stillness Comes is the prerequisite serial killer song. And the title track has lots of F-words, because that's what you use when you don't know what the fuck else to say.
What we're left with feels almost insulting, because you can tell Slayer (or, more to the point, Kerry King) might as well have been really sitting there with a checklist; don't forget the anti-authority song, remember to make a reference to God Hates Us All, use threats of violence here, squealing solos go here, here and here. Bingo!
The sad truth is, though there are a few good tracks (Cast the First Stone, Piano Wire, You Against You), they aren't very good while the bad tracks (Take Control, Vices, Atrocity Vendor) are very bad. The rest is Slayer-by-Numbers, songs we've already heard them do a better job of several times over during the course of their career.
Though I feared much worse for this record, Slayer have proven they at least have the capacity to soldier on without Hanneman; however, one listen to this Kerry King-dominated creation (especially in the moments it falls flat) will make you miss his presence that much more. Regardless, Holt is an able player (albeit one not given much to do here), and maybe he'll get to make a meaningful contribution on a future release.
As it stands, Repentless ticks off the Slayer checklist, and it offers the minimum amount of quality content to stoke the flames of interest; but it poses absolutely no threat to their best work (and even somewhat marginally accepted ones like Divine Intervention and Christ Illusion feel like far superior records). It's an attempt at greatness by a band that's simply too far removed (and missing a key component or two) from their period of greatness. It tries to make up for a decline in relevance with lame attempts at shock value, resulting in middle school level naughty bits from a group of guys in their 50s. It's another baby step down, a pretty mediocre record with a few bright spots that stands no chance of living up to Slayer standards. That shouldn't come as a shock to anyone.
September 11, 2015 • Nuclear Blast
Highlights Cast the First Stone • Piano Wire • You Against You
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