Death is June -Looking Back in Anger at Slayer's " Season in the Abyss"

This felt like a weird album production-wise when it came out. They were a little more aggressive on this one, still more melodic than "Hell Awaits" or "Reign in Blood" but faster and more overt than "South of Heaven". I think the combination of factors here is why the shift in the music business that came with the rise of alternative music did not affect them. "War Ensemble," they once again prove you can write a hooky song that is laying on the speed. It's just as anthemic today as when this album was released in 1990. The blood pumping in the veins, combined with the mid-paced chug and energetic drumming of Dave Lombardo, makes all the songs feel like they are moving with a similar rhythm. This works well for the chug of "Blood Red". The riffs are at peak hookiness. It also sounds like Jeff and Kerry wrote their solos, so they are more distinguishable. 

"Expendable Youth" is about gang violence, which feels more grounded than some of their lyrical choices. It has a solid groove and does not step on the gas too hard. "Dead Skin Mask" picks up where "Spill the Blood" left off, as this ode to Ed Gein solidified the category of Slayer songs that is my favorite in the "serial killer love song". The album's best song without question. It stomps with more purpose than most ballads, thanks to Lombardo's drumming, and builds into a more blatant assault by the end. "Hallowed Point" finds the band getting back in your face with the intensity of "Reign in Blood's" more punk moments. However, the chug and vocal layering on "Skeletons of Society" is more impressive.

The speed up a little for "Temptation," but I have always liked the call and response of the vocals. Lyrically, it's also one of the album's best songs.  Another lyrically strong song, that rushes things into a more hardcore speed is "Born of Fire". But the line "some have called Satan's son, a name I can't deny/ weilding fury that is second to none / far too vile to confine" has always felt like my mantra. Then there is another evil power ballad, the title track, that really simmers and gains momentum. The eerie chord progression works well leading up to the creeping syncopation of the main riff.  I'll round this one up to an 11, as the strongest song brings the rest of the album up to its level. 

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