Ranking the Albums: Slayer

Emerging in the early 1980s and stamping a permanent mark on the world of music, Slayer remain one of the most influential and best loved metal bands of all time. With live performances characterised by their ferocity, Slayer maintained a loyal fanbase even as musical tends shifted around them. Often courting controversy with their subject matter, their unflinching approach resulted in bans, lawsuits and criticism but this only served to bolster their reputation in the metal community.

As with some of my other ranking pieces, my introduction to each album and my personal resonance with them has played a part in their placement. I consider the top nine to all be good albums, the top eight to be great and the top five to be bona fide classics . On another day God Hates Us All and Christ Illusions might swap places and the gaps between the last quartet being small indeed.

Remember, rankings are purely subjective and just for fun. Please add your own rankings / comments at the end!

12: Undisputed Attitude (1996)

When Slayer decided to release an album of cover songs, there was some trepidation in the band of how it would be received and it remains the weakest of Slayer’s not inconsiderable achievements.  Various ideas were discussed about the songs to be covered. The original plan was to record tracks by heavy metal titans such as Judas Priest and Deep Purple; there was even a tentative discussion about the band tackling a song by The Doors. Ultimately, the band covered a selection of punk and hardcore punk tracks including two songs composed by Jeff Hanneman during his time in the side project, Pap Smear. The album was not without controversy - this is Slayer after all - most of which centred around the lyric change during the rendition of Minor Threat’s Guilty of Being White. The final track Gemini was an original song which although one of the best tracks here and slightly paving the way for the direction the band would take on their next album, seems tagged on the end, out of place and detached from the other tracks. As an experiment, it worked reasonably well but it left fans simply wanting an actual Slayer album.

Three favourite tracks: Spiritual Law, I'm Gonna Be Your God, Gemini

11: Diabolus In Musica (1998)

Named after the Latin for The Devil In Music or tritone, Slayer’s final offering of the 1990s is an album showing a band, not unlike many bands whose roots lay in 1980s metal, struggling for direction within the rise of nu-metal. It is somewhat surprising that they decided to embrace some of the musical nuances that were popular at the time as Slayer had always been a band to do everything completely on their own terms and to hell with the consequences. Despite what some say, this is not an album overrun by nu-metal influences but one on which the band mixed their more traditional sounds with a dose of nu-metal and a substantial dash of hardcore. Bands that experiment with their sound (there is more groove here than on any other album) run the risk of alienating fans but also should be congratulated for being prepared to try something new. While this album sits low in this ranking list, there is much truth in the fact that if this album did not say Slayer on the cover, it would have been far better received and remembered.

Three favourite tracks: Bitter Peace, Overt Enemy, Point

10: World Painted Blood (2009)

As another decade drew to a close, Slayer had done much to try and stabilise their reputation as part of the Big Four. Live, the band were still as belligerently powerful as they had ever been and Christ Illusion had brought some fans back to the fold. World Painted Blood, the last album to be made with the band’s classic line-up, was an out and out thrash album, for many fans banishing the final ghosts of Slayer’s earlier experimentation. Suffering from being album on which Slayer try too hard to sound like the Slayer of the past, World Painted Blood has little that comes close to the band’s classic material and rumbles along without many true highlights. Production values vary across different tracks and the mix is confused and uninspiring. Many fans would rank this album higher but if any Slayer album is a case of The Emperor’s New Clothes, it is this one.

Three favourite tracks: World Painted Blood, Unit 731, Public Display Of Dismemberment

9: Repentless (2015)

It is testament to the overall strength of Slayer’s back catalogue that by the album ranked ninth in this list, we have already reached albums on which I enjoy far more of the material than I do not. Repentless is a extremely solid album (for me there is quite a gap between World Painted Blood and this one) but it divides followers of the band; the absence of Jeff Hanneman’s contributions as both guitarist and songwriter is enough for some fans to dismiss the album. However, it stands as both a tribute to his memory and a defiant stand against the sands of time that have softened other bands. Lyrically, the band continue to explore the themes of conflict, retribution and the enduring human spirit. Musically, while obviously not as groundbreaking or consistently flawless as some of their classics, several of the tracks worked well live and if, as expected, it is the final album of their career, then it is a worthy swansong.  

Three favourite tracks: Repentless, Take Control, When The Stillness Comes

8: Divine Intervention (1994)

After the success and critical acclaim that Slayer achieved during the 80s and early 90s, writing the follow-up to Seasons In The Abyss must have been a daunting task indeed. It was the first album to feature a different dynamic to Slayer’s rhythm section with Paul Bostaph on drums following Dave Lombardo leaving the band (for the first time). Divine Intervention (along with God Hates Us All) is one of the band’s most underrated albums. Building on the sound of Seasons In The Abyss, the quartet did begin to evolve their sound but in a world where Nirvana, Pearl Jam and other bands were intent on stealing the crown of various heavy metal titans, Slayer simply ignored them and carried on. Lyrically, it is one of the bands darkest albums as they examined the psychology of serial killers, anti-authoritarian themes and macabre societal issues. A transitional album for the band, it is nonetheless complex, unyielding and technically proficient.

Three favourite tracks: Dittohead, 213, Mind Control

7: God Hates Us All (2001)

Notorious for being released on the same day as the tragic events of 9/11, God Hates Us All is a departure from the polished production of its predecessor, returning, for the most part, to the raw, aggressive roots of the band’s earlier work. King and Hanneman’s guitars are tuned down delivering a heavier, more guttural sound that reflects the angst of the era. There are some monstrous riffs, chaotic solos and unrelentingly fierce guitar work. The album sees Tom Araya delivering some of the most venomous vocals within the band’s discography, conveying a sense of disillusionment and fury. Structurally diverse with tracks such as War Zone displaying blistering speed and Bloodline adopting a more menacing cadence, God Hates Us All is another divisive record amongst fans. Nevertheless, it steadied the ship after the almost universally poorly received Diabolus In Musica and Undisputed Attitude.

Three favourite tracks: Disciple, Exile, Bloodline

6: Christ Illusion (2006)

With the return of Dave Lombardo for the first time (on a full album at least) since 1990’s Divine Intervention, Christ Illusion was seen as a pivotal moment for the band to solidify their relevance in a rapidly evolving metal landscape. Araya’s vocals are filled with conviction and a palpable sense of urgency. Although returning to familiar lyrical themes – religion, war and the human condition, Slayer are still provocative, particularly on tracks like Jihad and the Grammy-winning Eyes of the Insane which tackled the complexities of religious conflict and the psychological toll of war, respectively. Bridging the gap between the band’s more experimental years and a return to more traditional thrash tropes on World Painted Blood, Christ Illusion was a potent reassertion of their musical identity. Not without controversy in more ways than one, its graphic cover art sparked debate and even led to censorship in some countries, a reaction which was nothing new for the band.

Three favourite tracks: Eyes of the Insane, Jihad, Cult

5: Show No Mercy (1983)

While Slayer would go on be recognised amongst the greatest thrash bands in history, their debut album still wears the hallmarks of their black metal, NWOBHM and punk influences. With a raw, primitive sound, the band grab the listener by the throat from the opening riff of Evil Has No Boundaries until the closing notes of the title track. An album that can go toe to toe with Metallica’s Kill ‘Em All or Megadeth’s Killing Is My Business… and Business is good, Show No Mercy was a statement of intent. Fast, aggressive and crammed with unbridled intensity, the approach resonated with an audience that was hungry for music that was more extreme and more authentic. Entirely written by Jeff Hanneman and Kerry King, who incredibly were both still teenagers at the time of release, it remains an essential album for understanding the genesis of thrash metal and the development of Slayer.

Three favourite tracks: The Antichrist, Die By The Sword, Tormentor

4: Hell Awaits (1985)

My clearest memory associated with Slayer (along with the first time I saw them live – more of which later) is my first listen to this album. Listening to the album loud on headphones, the opening of the title track growing portentously, it burrowed its way into my mind; it remains the eeriest beginning to any album ever released. Heavier and murkier than the debut album, Hell Awaits exhibits the evolving chemistry between Hanneman and King, whose riffs and solos became more complex and more sinister. Lombardo’s drumming illustrated his burgeoning talent and it was clear that Slayer were becoming a force to be reckoned with in the metal scene. A perfect bridge between the raw ferociousness of their debut and the refined brutality of their subsequent album, Reign In Blood.

Three favourite tracks: Hell Awaits, At Dawn They Sleep, Crypts of Eternity

3: South of Heaven (1988)

When Slayer came to write South of Heaven, the question of how to follow a masterpiece must have been a pressing one indeed. Slayer’s solution? To write another masterpiece that completed subverted the very thing that made the first one so successful. Making a conscious decision to slow down the tempo resulted in a more ominous and brooding atmosphere. The opening title track immediately sets this new tone with its menacing riffs and reduced tempo. Songs such as Silent Scream and Ghosts of War maintained the band’s signature thrash sound, while Live Undead highlighted the band’s ability to create haunting and memorable melodies. Some fans saw the change of approach over much of the album as a let down or a step back from the high-octane thrash they had grown to love. Over time, South of Heaven has been recognised as a deliberate and strategic move, showing the band was not afraid to challenge themselves and their audience.

Three favourite tracks: South of Heaven, Silent Scream, Spill The Blood

2: Reign In Blood (1986)

Simply put, Reign In Blood is one of the most iconic albums in any metal genre. It catapulted Slayer from cult status to legends. At just under twenty-nine minutes, the album is a compact assault over ten tracks that together form an unrelenting onslaught of breakneck riffs, complex drum patterns and visceral imagery. Reign In Blood marked a significant evolution in thrash metal’s thematic content. Slayer’s lyrics were often darker and more disturbing than many of their contemporaries, exploring not only historical atrocities but themes of death, hell and the occult. The infamous Angel Of Death, which delved into the atrocities committed by Josef Mengele at Auschwitz, sparked accusations of Nazi glorification, which the band vehemently and rightfully denied. Lauded for its innovation and sheer sonic power, it was a commercial success despite its lack of radio play. With an immediate and long-lasting impact, Reign In Blood is a definitive work that reshaped the landscape of heavy metal.

Three favourite tracks: Angel of Death, Altar of Sacrifice, Raining Blood

1: Seasons In The Abyss (1990)

With Reign In Blood, an album I consider to be a flawless piece of heavy metal, at number two, the album that I ranked above it must be a special album indeed. Having become more aware of the band in the few months preceding this album’s release, I had started to investigate some of the band’s catalogue, a journey that actually began with South Of Heaven. By the time Season Of Abyss was released, I was becoming somewhat familiar with the rest of the catalogue and just five days after I had the new album in my teenage hands, I attended my first Slayer concert (Clash of the Titans Tour at Wembley Arena) after playing Seasons In The Abyss non-stop over those few days. It was a baptism of fire with the band playing the majority of the new album (setlist here for those interested) alongside several songs from previous albums. Seasons In Abyss occupies the number one position as it is the album that truly confirmed my place among the ranks of Slayer fans.

Three favourite tracks: War Ensemble, Dead Skin Mask, Seasons In The Abyss

Listen to my playlist Slayer Through The Years featuring my three favourite songs from each album (in chronological order) below.