1.Flesh Storm 04:16 
2.Catalyst 03:09 
3.Skeleton Christ 03:25 
4.Eyes of the Insane 03:32         play
5.Jihad 03:30 
6.Consfearacy 03:09 
7.Catatonic 04:53 
8.Black Serenade 02:58 
9.Cult 04:42 
10.Supremist 03:51                 play

Musicians:
* Tom Araya – bass, vocals
* Jeff Hanneman – guitar
* Kerry King – guitar
* Dave Lombardo – drums

With original drummer Dave Lombardo returning to the fold, 2006’s Christ Illusion was supposed to be Slayer’s big comeback album. It wasn’t. Although a major improvement on 2001’s pedestrian God Hates Us All, Christ Illusion largely failed to reignite the chemistry between the four original members. Just three years later – fast work by Slayer standards – is World Painted Blood finally the album they’ve been striving to make for the last 20 years?

Having done much to define thrash metal in the 1980s and been responsible for what is arguably the genre’s definitive text – 1986’s Reign in Blood – Slayer have never been let off the hook. Each and every subsequent release has been subject to intense scrutiny from all quarters, and as a result the band has, at times, seemed genuinely uncertain what to do next – witness 1998’s dire Diabolus in Musica.

Such microscopic levels of surveillance were less of a problem during 1987-92, when they enjoyed enormous critical and commercial success. However, come the reign of grunge and then nu-metal, Slayer looked vulnerable as they scrabbled around for scraps of artistic relevance. It’s telling that they spent much of the 90s touring their legendary live show, which has always leaned heavily on their early material.

This, studio album number ten, is their best in years. Many pundits lazily passed similar judgements on the band’s weak later efforts, but you can take this one to the bank. It’s better than Christ Illusion and everything else back to 1994’s Divine Intervention.

Opening with the blistering title track, this is Slayer stripped back, largely free from fat and unnecessary fuss. Few of the songs command the attention with the insistence of old, but quite frankly we were beginning to wonder if they still had an album like this left in them. Although unafraid to experiment with atmosphere (Human Strain) and explore sombre moods (Beauty Through Order, Playing With Dolls), it’s the sound of the band rediscovering their truly aggressive streak. Frontman Tom Araya does his throat untold damage with a performance worthy of a guy half his age, while the dangerously deranged soloing of guitarists Jeff Hanneman and Kerry King trumps any individual track as the album’s clear highlight.

Enter expecting a return to the glory days and you’ll leave disappointed. Open your mind to just how disturbing materially-comfortable 40-somethings with responsibilities can be and you’ll enjoy a deliciously wicked ride. ---Greg Moffitt, BBC Review

Media się zagotowały, religijne organizacja kipią, rodzice plombują swym pociechom odtwarzacze… Slayer znów zaatakował! Na „Christ Illusion” przyszło czekać fanom Slayera 5 lat, ale tytani mosiężnego thrashu powrócili na tron w pełni formy i skandalu. Wszystko wróciło do normy…

„Christ Illusion” to tradycyjny Slayer, jaki fani wielbią od ćwierćwiecza. Choć momentami słuchamy niemal puzzli z poprzednich krążków, to i tak jest pięknie. Nie ma tu bombastycznych motywów na miarę „Tormentor”, „Seasons In The Abbys”, lub „Skeletons of society”, ale i tak nowa płytka jest wyśmienita. Już fakt, że Lombardo znów jest w składzie, gwarantuje szybsze bicie serca. Jeden z najlepszych perkusistów świata, przekłada się na niesamowitą prędkość i gęstość gry.

Gitary na „Christ Illusion” to esencja Slayera. Zimne, miażdżąco brutalne i odhumanizowane riffy, karkołomne solówki, a wszystko to pędzące z prędkością światła i nasycone niepohamowaną wściekłością. Dodajmy do tego jeszcze frontmana, który skanduje linijki bluźnierczych tekstów z młodzieńczą werwą. Opatulmy to psychodelią, histerią, mrokiem, porażającą agresją i mamy przybliżony obraz „Christ Illusion”. To 40 minut furiackiej masakry na najwyższym thrashowym poziomie. Młodzi grajkowie niech wrócą do mamusinej piersi i siusiania do nocnika, bo choć potrafią łoić bardziej brutalnie to tak wstrząsającego klimatu nie osiągną. Stara gwardia dyktuje warunki! Tu nie ma ani sekundy zwolnienia. Jest tylko walcowaty i bezlitosny podmuch nienawiści, dźgający w samo sedno uczuć religijnych i system wartości, przekonań zwolenników LPR i kobiet z „nocnikami” na głowach. Czyż nie apetycznie? To właśnie Slayer w pełnej krasie… ---Wojciech "Ajronek" Kozicki, artrock.pl

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1.Angel of Death 04:51              play
2.Piece by Piece 02:02 
3.Necrophobic 01:41 
4.Altar of Sacrifice 02:50 
5.Jesus Saves 02:55 
6.Criminally Insane 02:22 
7.Reborn 02:12 
8.Epidemic 02:23 
9.Postmortem 03:27 
10.Raining Blood 04:16
11.Aggressive Perfectom 2:30
12. Criminally Insane (Remix)       play

Personnel:
* Tom Araya – bass, vocals
* Jeff Hanneman – guitar
* Kerry King – guitar
* Dave Lombardo – drums

For more than a decade, Slayer has proudly fused thrash and speed metal into loud, offering doomish dirges, voraciously boisterous and blasphemous songs groaning over lyrics that depict madness, suicide and murder in excess, a style which should definetly suit a ten-year-old metalhead. On October 7, 1986, Slayer released what was to become their masterpiece, "Reign In Blood". An album discribed by Kerrang! Magazine as "the heaviest album of all time" and peaked at number 22 on Metal Storm's "top 100 albums of all time" survey, a position that only "the crème de la crème" bands could get. Believe me, reviewing a very popular album from a very popular band isn't easy at all, but sometimes justice must be done.

"Reign In Blood" could be summed up in four simple words, strenuous, volatile, asymmetrical and brutal...maybe too brutal. At first I was completely blown away by its amazing structural proficiency, I couldn't get over it. Fortunately, there was a day when I realized that except Metallica, even a band from "the big four" could suck. The answer is pretty clear now, this is a notoriously inconsistent effort.

The journey commences with "Angel Of Death", an impressive opener , built around ultra-fast repetitive thrash riffs followed by... well, rigourous barks and high-pitched growls of Tom Araya, but that's vocally speaking, sure there's nothing inherently bad with it. However, even the most ardent fans of Slayer will admit that the one-dimentional vocals of Mr Araya are probably the thing that should be removed from Reign In Blood. In case you haven't noticed it yet, the singer tries his best to mix things up without resorting to clean vocals, and I don't blame him for that, at least he screams like a man not like Dave Mustaine. Songs like "Raining Blood" and "Angel Of Death" are the album's highlights, despite being too uniformed for some to stomach, they are quite catchy with their crushing guitar riffs and the furiously thunderous drumming. However, in its entirety, the album is not as consistently memorable as "South Of Heaven", but let's make it clear, I've never been a fan of Slayer and if they're going to stick on "Christ Illusion meets Reign In blood" style I won't be, but to be fair, there was a time when I liked Slayer pretty much, I liked Reign In Blood though but not anymore, these guys don't deserve to be a part of "the big four" neither does Megadeth.

In the end of the day, Slayer will always have an audience because their discography is worth picking up, but when it comes to this album here's my advice, listen to it for one year or maybe two and then throw it away. Folks, I give you "the most overrated album of all time"... Reign In Blood. ---Mindheist, metalstorm.net

W chwili wydania był to najbardziej brutalny, najbardziej ekstremalny album w historii muzyki. Na "Reign in Blood" - trzecim studyjnym albumie Slayer - metalowy ciężar spotkał się z hardcore'ową prędkością i bezkompromisowością. Na album trafiło 10 utworów o łącznym czasie poniżej pół godziny - tak intensywnej muzyki w większej dawce nie dałoby się wysłuchać. Tym bardziej, ze jedynym urozmaiceniem i uspokojeniem są efekty dźwiękowe (odgłosy deszczu i burzy) poprzedzające i kończące "Raining Blood". Jednak na tle dzisiejszego ekstremalnego metalu "Reign in Blood" zachwyca... melodyjnością! Kompozycje są przemyślane, a chociaż Tom Araya wykrzykuje teksty z prędkością CKMu, to nie ma problemu ze zrozumieniem go - w przeciwieństwie do współczesnych przedstawicieli najcięższych odmian metalu, preferujących growl lub inny niezrozumiały bulgot. Na "Reign in Blood" wyróżniają się zwłaszcza dwa, prawie dwukrotnie dłuższe od pozostałych, utwory. Są to otwierający album "Angel of Death" oraz zamykający go "Raining Blood", które są najlepszym przykładem jak powinno grać się agresywny metal, żeby nadawał się on do słuchania. W obu zwracają uwagę genialne riffy, nierzadko określane najlepszymi w thrash metalu. Do klasyki gatunku należy także "Postmortem" - odrobinę wolniejszy w pierwszej połowie, a dopiero w drugiej obłąkańczo rozpędzony. Z pozostałymi utworami jest niestety pewien problem - są do siebie bardzo podobne, trudno rozróżnić kiedy jeden się kończy, a następny zaczyna. Razem jednak bez wątpienia tworzą jeden z najbardziej powalających albumów w historii metalu. ---Paweł Pałasz, pablosreviews.blogspot.com

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01 — War Ensemble.
02 — Blood Red.
03 — Spirit In Black.
04 — Expendable Youth.
05 — Dead Skin Mask.
06 — Hallowed Point.
07 — Skeletons Of Society.
08 — Temptation.
09 — Born Of Fire.
10 — Seasons In The Abyss.

Jeff Hanneman (R.I.P. 2013) - Guitars
Kerry King - Guitars
Dave Lombardo - Drums
Tom Araya - Vocals, Bass

After staking out new territory with the underrated South of Heaven, Slayer brought back some of the pounding speed of Reign in Blood for their third major-label album, Seasons in the Abyss. Essentially, Seasons fuses its two predecessors, periodically kicking up the mid-tempo grooves of South of Heaven with manic bursts of aggression. "War Ensemble" and the title track each represented opposite sides of the coin, and they both earned Slayer their heaviest MTV airplay to date. In fact, Seasons in the Abyss is probably their most accessible album, displaying the full range of their abilities all in one place, with sharp, clean production. Since the band is refining rather than progressing or experimenting, Seasons doesn't have quite the freshness of its predecessors, but aside from that drawback, it's strong almost all the way from top to bottom (with perhaps one or two exceptions). Lyrically, the band rarely turns to demonic visions of the afterlife anymore, preferring instead to find tangible horror in real life -- war, murder, human weakness. There's even full-fledged social criticism, which should convince any doubters that Slayer aren't trying to promote the subjects they sing about. Like Metallica's Master of Puppets or Megadeth's Peace Sells...but Who's Buying, Seasons in the Abyss paints Reagan-era America as a cesspool of corruption and cruelty, and the music is as devilishly effective as ever. --- Steve Huey, allmusic.com

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