When a prominent figure from an iconic band embarks on a solo project, you naturally expect a departure from their usual orientation. Otherwise, what’s the purpose of the endeavor? This tenet applies to many musicians, but not to the peculiar and steadfast personality of Kerry King. When he announced his project after Slayer’s disbandment, I was sure that he wouldn’t deviate (even slightly) from his ex-band’s whereabouts. Indeed, the highly anticipated “From Hell I Rise” is so strongly influenced by Slayer that it cannot be viewed independently from their discography.
However, setting aside any assumptions, the line-up of King’s band -featuring himself and Phil Demmel (ex-Machine Head, ex-Vio-lence) on guitars, Mark Osegueda (Death Angel) on vocals, Kyle Sanders (Hellyeah) on bass, and Paul Bostaph (Slayer, ex-Testament, ex-Exodus, ex-Forbidden) on drums-certainly resonated with many thrash enthusiasts. You’d expect great things from these old, experienced guys, as they’re not a group you encounter every day.
King’s guidance in his debut is as clear as the sun rising from the east. The entire album reeks of Slayer’s ungodliness, drawing mainly from their later era (mid-90s onwards) while also paying substantial visits to the classic years (which, let’s be honest, instantly pique the listener’s interest). King doesn’t pretend; his patterns are clear and straightforward, infused with ample aggression and violence. However, he cannot maintain the same quality level throughout the entire record.
Albums like “Undisputed Attitude” serve as a crucial reference point for King. In that sense, the vibes and groove of the mid-tempo “Residue” and the excellent “Trophies of the Tyrant” stand out easily. Generally, some patterns are adjusted to align with the philosophy of “Seasons in the Abyss”, which I consider an advantage. Notably, characteristic riffing occurs in the fast, old-school “Crucifixation” (it evolves into a decayed theme that profoundly echoes its source of inspiration), the lurking, evil “Tension” (essentially an intro for the punkish “Everything I Hate About You”), and the sick, Hannemanian initial theme of “Shrapnel”. The addictive “Toxic”, a fusion of “Raining Blood” and “Angel of Death” is the highlight of the album, offering unpretentious thrash amusement even to those who aren’t typically fond of such direct references.
The band achieves cohesion and dynamism, offering abundant “slayerosity”. The album caters to a variety of listeners, featuring mid- and up-tempo songs across classical thrash, groove, and punkish styles. However, apart from the outstanding cases mentioned earlier, King doesn’t avoid the trap of fillers (e.g. “Two Fists”, “Rage”).Despite some mundane moments, the band works diligently, unleashing a variety of ferocious Bay Area riffs that provoke a nostalgic response (thanks to the excellent collaboration between King and Demmel). Bostaph, with his bestial work behind the kit, once again proves to be a guarantee for a proper thrash album. Finally, Oseguada’s harshness adds an old-school feeling through a decent and raging performance, although there’s room for improvement in some areas.
Under modern production, King offers a glimpse of his band’s history, satisfying die-hard Slayer fans, and some compositions will undoubtedly leave an impact on many people’s (sub) conscious. Of course, “From Hell I Rise” cannot be ranked alongside Slayer’s zenith and nadir, but I’d argue it’s far superior rto the uninspired late albums (“World Painted Blood”, “Repentless”). While certain moments make you yell “Slayer”, repeated listens reveal that King didn’t fully harness the potential of his line-up; indeed, that specific team was capable of something even more powerful. For now, his mission has been successfully accomplished, but we’ll have to wait and see if this project continues after the (un)expected Slayer reunion.
♦ 7/10
Alex Nikolaidis
