Slayer Αρχεία - Myth Of Rock

SLAYER: ANNOUNCE HEADLINING SHOWS

MythofRock — Tue, 21 Apr 2026 21:09:52 +0000

California thrash metal giants Slayer are marking the 40th anniversary of their legendary third album “Reign in Blood” with a pair of U.S. headline shows where the record will be performed in full. The celebration also includes their first live appearance in Los Angeles in seven years.

The dates and locations have been confirmed as follows:

September 4 – Shakopee @ Mystic Lake Amphitheater
November 13 – Inglewood @ Kia Forum

These shows mark the only U.S. appearances of the special “Reign In Blood” anniversary set, and the only headline dates where fans will get to hear “Reign in Blood” performed in its entirety. Festival slots throughout the year will feature different setlists.

The Shakopee date will include support from Down, Suicidal Tendencies, and Hatebreed, while the Los Angeles-area show in Inglewood will feature Cannibal Corpse, Cavalera, and Crowbar as opening acts.

Slayer’s only U.S. East Coast appearance of 2025 went down on September 20 at Hersheypark Stadium in Hershey, a massive 30,000-capacity venue. Just two days earlier, they hit the stage at the Louder Than Life in Louisville.

That Louder Than Life set marked the reunited thrash legends’ fourth full show of 2025, following high-profile appearances at Blackweir Fields in Cardiff, Finsbury Park in London, and the huge Festival d’été de Québec in Quebec City.

On top of that, Slayer were part of a historic moment honoring Black Sabbath, performing a six-song set at the sold-out Back To The Beginning on July 5, 2025, held at Villa Park in Birmingham.

The lineup for all of Slayer’s comeback shows in 2024 and 2025 remained unchanged from their final 2019 touring run, featuring Kerry King and Paul Bostaph alongside Tom Araya and Gary Holt.

Το άρθρο SLAYER: ANNOUNCE HEADLINING SHOWS εμφανίστηκε πρώτα στο Myth Of Rock.

“BACK TO THE BEGINNING”: BLACK SABBATH’S FINAL CONCERT

MythofRock — Thu, 06 Feb 2025 18:15:18 +0000

Black Sabbath has announced its final ever concert. The original Black Sabbath line-up will play for the last time in July 2025 at the stadium of Aston Villa, Villa Park, with a great number of supporting bands, like Metallica, Slayer and Pantera! But let’s see the details of this super-concert, of course, one of the most historic live events in metal music until now.

Titled “Back To The Beginning,” the charity concert will take place on July 5 at Villa Park in Birmingham, United Kingdom, with tickets available for purchase starting at 10 a.m. on February 14. Closing out the event will be an all-star lineup featuring Billy Corgan (THE SMASHING PUMPKINS), Tom Morello (RAGE AGAINST THE MACHINE), Fred Durst (LIMP BIZKIT), Jonathan Davis (KORN), Wolfgang Van Halen, and many more. Morello, who will also serve as the event’s musical director, promises: “This will be the greatest heavy metal show ever”.

All proceeds from the concert will benefit Birmingham charities Cure Parkinson’s, Birmingham Children’s Hospital, and Acorn Children’s Hospice.

Osbourne shares his thoughts on the event, stating: “It’s my time to go ‘Back To The Beginning’… time for me to give back to the place where I was born. How blessed am I to do it with the help of people I love? Birmingham is the true home of metal. Birmingham Forever”.

A year ago, Sharon said that Ozzy was hoping to play a farewell concert at Birmingham’s Villa Park as a “goodbye” to fans.

So, get ready to stand in the online queue to secure your tickets. It is time for the speediest sold-out ever.

Black Sabbath Forever!

Το άρθρο “BACK TO THE BEGINNING”: BLACK SABBATH’S FINAL CONCERT εμφανίστηκε πρώτα στο Myth Of Rock.

SLAYER: ON STAGE AFTER FIVE YEARS

MythofRock — Mon, 23 Sep 2024 08:01:10 +0000

Legendary thrash metal band SLAYER returned to the stage for the first time in five years on Sunday night (September 22) at Douglass Park in Chicago, Illinois. The band hit the stage shortly after 8:30 p.m. local time, delivering a powerful 20-song set. The performance featured fan-favorites like “South Of Heaven”, “Seasons In The Abyss”, “Angel Of Death”, “Hell Awaits”, “Raining Blood” and the title track from their final album, “Repentless”.

Setlist

01. South Of Heaven
02. Reborn (first time live since 2014)
03. Blood Red
04. Postmortem
05. Repentless
06. Payback
07. Temptation
08. Jihad
09. Seasons In The Abyss
10. Born Of Fire
11. War Ensemble
12. Hate Worldwide
13. Disciple
14. Dead Skin Mask
15. Hell Awaits
16. 213 (first time live since 1998)
17. Mandatory Suicide
18. Raining Blood
19. Black Magic
20. Angel Of Death

SLAYER’s next performance is scheduled for the Louder Than Life festival in Louisville, Kentucky, on September 27, followed by a set at the Aftershock festival in Sacramento, California, on October 10.

SLAYER’s comeback features the same lineup from their 2019 tour: guitarist Kerry King, bassist/vocalist Tom Araya, guitarist Gary Holt (also of EXODUS), and drummer Paul Bostaph.

Το άρθρο SLAYER: ON STAGE AFTER FIVE YEARS εμφανίστηκε πρώτα στο Myth Of Rock.

KERRY KING – “FROM HELL I RISE” (2024, REIGNING PHOENIX MUSIC)

MythofRock — Sun, 25 Aug 2024 12:47:13 +0000

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

Το άρθρο KERRY KING – “FROM HELL I RISE” (2024, REIGNING PHOENIX MUSIC) εμφανίστηκε πρώτα στο Myth Of Rock.

SLAYER – “SHOW NO MERCY”/40+1 YEAR-ANNIVERSARY TRIBUTE

MythofRock — Fri, 15 Mar 2024 08:59:43 +0000

40+1 years after its release, we embark on a journey through the hallowed halls of Slayer’s debut opus, “Show No Mercy”. With every blistering riff and venomous lyric, we pay homage to the unholy group of Kerry King, Jeff Hanneman, Tom Araya and Dave Lombardo, whose collective prowess forged a sonic crucible from which emerged the quintessential embodiment of metal’s darkest desires.

by Alex Nikolaidis

Before “Reign In Blood”, there was “Hell Awaits”… and before “Hell Awaits”, there was “Show No Mercy”…

In the early 80s, for teenagers from Huntington Park, California, guitarists Kerry King and Jeff Hanneman, drummer Dave Lombardo and bassist/vocalist Tom Araya, decided to scare people. They formed one of the biggest thrash bands ever; a band that -among few others- defined the genre. Slayer’s magnitude is vast; you cannot perceive the term “thrash” without reserving a prominent place for the moniker of four swords that form an unfinished pentagram and the right-leaning fonts, within a yellow circle (a Lombardo’s concept).

Initially, they were playing cover songs of other bands, mainly Iron Maiden, Black Sabbath, Judas Priest and Venom. No one suspected that they would contribute to the change of music. What should people expect from a tribute band of some friends, who were playing at parties and local clubs in Southern California? They were just a bunch of teenagers, who were having fun…

One night, they drew Brian Slagel’s attention, founder of Metal Blade Records. Initially, they agreed to record an original song, “Aggressive Perfector”, for a compilation album of the newly founded label, which opened the way for a recording contract… and the rest is history…. During times of financial constraint for the label and the band, Slayer entered the studio in November 1983 and unleashed their fierce instinct. The recording process was rather short (three weeks only), and “Show No Mercy” was released the next month, gaining popularity and recognition for the band.

Although Slayer’s debut was one of the early releases that forewarned people of what thrash was going to be, it had a clear heavy/speed metal feeling, clearly influenced by Venom’s darkness and Iron Maiden’s logic in riffing. Hanneman and King took NWOBHM’s elements and, combining them with the former’s interest in punk, transformed them into something more violent, aggressive, and relentless. The first Slayer’s riffs appeared, which would accompany us ever since in fastest and fiercest editions; and, of course, Araya’s screams and sadistic tone, were perfectly incident to the satanic lyrics inspired by Mercyful Fate’s themes (that was a strong trend back then).

These first Slayer’s ideas were an attractive, punky, speedy thrash, full of dynamism and sadistic coldness, although some details weren’t approached properly by the band, leaving a sense of something “unfinished”. The primitive production, which left some band members unsatisfied, today may seem dated; but, considering the lack of money, it was a fair approach that highlighted the “archaic” character of the songs. “Show No Mercy”, despite the rather “poor treatment” it received in the studio and its immaturity compared to later releases, influenced many speed and thrash metal bands alike. Songs like “Evil Has No Boundaries”, “Antichrist” (its sick, unholy riff still haunts me), “Tormentor”, “Crionics” etc. are simple and daring, yet with multiplying effect in metal. Among the ten tracks, “Black Magic” could mainly be considered the closest point to Slayer’s thrash standards of later years; the way intensity is escalated and the hellish storm that follows, made it an instant hit and a classic song until today (I love Slayer, but I think it was a huge infelicity for them not to start their live shows with this hymn…).

“Show No Mercy” had a cult status that couldn’t withstand the ferocity of the tremendous albums that followed. Soon, people (and Slayer themselves) forgot it, and most of its songs were consumed by Lethe; only “Black Magic” and “Antichrist” survived the passing of time, appearing sometimes in Slayer’s setlists. However, its importance is as undisputed as the spherical shape of the Earth: it was Slayer’s entry to the world of thrash.

Forty years ago, Slayer sounded determined to change the world’s perception about extreme metal, before changing into something else. Their raw, fierce and dark debut signified the start of their legendary, classic era, that lasted till 1990’s “Seasons in the Abyss”; an era which marked extreme music irrevocably, influencing countless bands and making thousands of metal fans worldwide be Slayer’s fans.

“Show No Mercy” was the jagged rim of the cliff where Slayer stood, staring down the depths of the abyss. In “Hell Awaits” they made the bold step forward, enticing us to follow their fall… and in “Reign In Blood” they told us what happens there, at the bottom, where hell might be…

But before the fall, there was the stare…

Some Facts

Metal Blade didn’t budget for the album. “Show No Mercy” was self-financed by the band; Slayer used Araya’s savings (he was working as a respiratory therapist these days) and some money that King had borrowed from his father.
According to Araya, the recording was taking place at LA’s Track Studios every night, from 11PM to 7 in the morning, because these hours the sound engineer’s fee was much lower!
During the tour that followed the release of the album, Slayer didn’t have a proper crew of technicians; the crew consisted of the band’s friends and relatives. That’s what we call a “DIY concert”!
Also, there wasn’t a tour manager; Doug Goodman, who knew the band and was working at a grocery store, took some days off and became the band’s “manager”! Today, he tour manages Green Day, among others.
Lombardo wasn’t satisfied with the recording of drums. Due to the loud sound, and after the engineer’s suggestion, they dampened the cymbals with towels, and recorded toms and cymbals separately.
Parents Music Resource Center sent a letter to Slayer, complaining about the band’s image and lyrics, and requested that they stop releasing records. Of course (and luckily for us), Slayer ignored them!

Το άρθρο SLAYER – “SHOW NO MERCY”/40+1 YEAR-ANNIVERSARY TRIBUTE εμφανίστηκε πρώτα στο Myth Of Rock.

OFFICIAL: SLAYER … REUNITES!

MythofRock — Thu, 22 Feb 2024 08:25:48 +0000

Five years since its farewell tour, Slayer returns and has already announced its new live dates!

After concluding their world tour in November 2019, SLAYER, featuring Tom Araya on bass and vocals, Kerry King and Gary Holt on guitars, and Paul Bostaph on drums, is set to make a highly anticipated return to the stage this fall. The iconic thrash metal band will headline two major festivals, Riot Fest and Louder Than Life, marking their first live performances since the conclusion of their previous tour. Fans around the world eagerly await the opportunity to witness SLAYER’s legendary live show once again, as they continue to solidify their status as one of the most influential and revered bands in the history of heavy metal.

“Nothing compares to the 90 minutes when we’re on stage playing live, sharing that intense energy with our fans,” Araya said, “and to be honest, we have missed that.” King added: “Have I missed playing live? Absolutely. SLAYER means a lot to our fans; they mean a lot to us. It will be five years since we have seen them.”

So far the following dates have been announced:

Sep. 22 – Riot Fest – Chicago, IL
Sep. 27 – Louder Than Life – Louisville, KY

“We’re thrilled to announce that SLAYER will be reuniting for an earth-shattering performance at Louder Than Life,” says Danny Wimmer of Danny Wimmer Presents. “I was at their last show at The Forum in 2019 and have been working since then to bring them back to the Louder stage! With over 140 bands on five stages, we’re celebrating our 10th Louder Than Life with the biggest lineup yet!”

Το άρθρο OFFICIAL: SLAYER … REUNITES! εμφανίστηκε πρώτα στο Myth Of Rock.