The Making of South of Heaven by Slayer

Introduction

In the summer of 1988, Slayer unleashed their fourth studio album, South of Heaven, upon an unsuspecting world. This release marked a pivotal moment in the band’s career, representing a deliberate shift from the breakneck speed of their previous effort, Reign in Blood. While the album initially divided fans and critics alike, it has since been recognised as a cornerstone of thrash metal, showcasing Slayer’s ability to evolve while retaining their signature intensity. This article delves into the genesis, recording process, commercial performance, and enduring legacy of South of Heaven.

Below is a detailed overview of the album’s key attributes:

The impact of South of Heaven cannot be overstated. It solidified Slayer’s position in the thrash metal hierarchy and influenced countless bands that followed. The album’s slower, more deliberate approach was a bold move that paid off, offering a fresh perspective on the genre. “We couldn’t top Reign in Blood,” guitarist Jeff Hanneman reflected, “so we had to slow down and change things up.”

The Genesis of “South of Heaven”

As the dust settled from the whirlwind success of Reign in Blood, Slayer found themselves at a crossroads. The thrash metal scene was rapidly evolving, and the band was determined to remain at the forefront. The late 1980s were a time of experimentation and change within the genre, with bands like Metallica and Megadeth also exploring new sonic territories. Against this backdrop, Slayer began to conceptualise what would become South of Heaven.

Prior to this album, Slayer had already carved out a formidable reputation with their relentless speed and aggression. Their previous releases, including Hell Awaits, had set a high bar, both musically and thematically. However, the band was acutely aware that simply replicating past successes would not suffice. Instead, they opted for a more nuanced approach, incorporating slower tempos and a more atmospheric sound.

The primary creative forces behind South of Heaven were guitarist Jeff Hanneman and producer Rick Rubin. Hanneman’s songwriting prowess was instrumental in shaping the album’s distinctive sound, while Rubin’s production expertise ensured a polished final product. The band members and their respective roles in the production are outlined below:

Financially, the album was supported by Def Jam, with a budget that allowed for the use of top-tier studios like Hit City West in Los Angeles and Chung King Studios in New York City. The album’s title, South of Heaven, was conceived as a metaphor for the band’s thematic exploration of darker, more introspective subjects. The artwork, designed by Larry Carroll, features imagery that reflects the album’s ominous tone.

Recording Process

The recording sessions for South of Heaven were as intense as they were innovative. Beginning in December 1987 and concluding in February 1988, the band split their time between Hit City West in Los Angeles and Chung King Studios in New York City. Both studios were renowned for their state-of-the-art equipment and acoustics, providing an ideal environment for Slayer’s ambitious project.

Rick Rubin, the producer, played a crucial role in the recording process. Known for his minimalist production style, Rubin had previously worked with Slayer on Reign in Blood, and his expertise was invaluable in shaping the sound of South of Heaven. Key personnel also included engineers Andy Wallace and Howie Weinberg, who were instrumental in achieving the album’s distinctive sound.

The studios were equipped with cutting-edge hardware, including Neve and SSL mixing desks, Urei 1176 compressors, and a variety of microphones such as Neumann U87s and Shure SM57s. Below is a table of the likely hardware used during the recording sessions, based on the known capabilities of the studios at the time:

The recording process was not without its challenges. Kerry King, one of the band’s guitarists, later admitted that his performance on the album was lacklustre due to personal distractions. Nevertheless, the band persevered, and the result was an album that defied expectations. Rick Rubin’s production discography is extensive, and his influence on South of Heaven was significant. Below is a table of other albums produced by Rubin, showcasing his diverse range:

Commercial Performance and Reception

Upon its release, South of Heaven achieved considerable commercial success, debuting at number 57 on the Billboard 200. This was a notable achievement for a thrash metal album at the time, indicating Slayer’s growing influence beyond the underground metal scene. The album’s commercial performance was bolstered by strong sales in key markets, eventually earning a gold certification in the United States by 1992.

The following table provides an overview of Slayer’s album sales data, including South of Heaven:

Despite the initial mixed reviews, the album has since been lauded for its innovation and influence. South of Heaven was released in a year marked by other significant thrash metal albums, including …And Justice for All by Metallica and State of Euphoria by Anthrax. These albums, while commercially successful, often drew comparisons to Slayer’s work, highlighting the competitive landscape of the time.

Other albums released in 1988 include:

• …And Justice for All by Metallica [Physical Sales: 8 million]
• State of Euphoria by Anthrax [Physical Sales: 500,000]
• Operation: Mindcrime by Queensrÿche [Physical Sales: 1 million]
• So Far, So Good… So What! by Megadeth [Physical Sales: 400,000]

In terms of accolades, South of Heaven was certified gold in the United States and silver in the United Kingdom, marking it as one of Slayer’s most successful releases.

Singles and Track Analysis

The singles released from South of Heaven played a crucial role in shaping the album’s legacy. The title track, “South of Heaven,” was released as a single in 1988, showcasing the band’s new direction. Written by Jeff Hanneman and Tom Araya, the song’s slower tempo and haunting lyrics were a departure from Slayer’s usual style, yet it resonated with fans and critics alike.

Below is a detailed table of the album’s tracks, their lengths, and writing credits:

Note: “South Of Heaven” was released as a single. No specific chart data is available for the singles from this album.

Influences and Legacy

The influences behind South of Heaven are as varied as they are profound. Slayer drew inspiration from a range of artists and genres, blending elements of punk, heavy metal, and even classical music to create a unique sound. The band’s willingness to experiment with slower tempos and more complex song structures set them apart from their contemporaries.

Below is a table outlining the influences on South of Heaven and the artists it subsequently influenced:

The year 1988 was a time of significant cultural and global events. The first well-known computer virus, the 1988 Internet worm, was released, and the first permanent intercontinental Internet link was established between the United States and Europe. In the world of cinema, Rain Man dominated the box office, grossing over $354 million worldwide. Meanwhile, the Soviet Union began its transition towards a mixed economy, signalling the beginning of the end for the Iron Curtain.

Five Things about South of Heaven

South of Heaven is not only a landmark album in Slayer’s discography but also a treasure trove of fascinating details. Here are five verified facts about the album:

Media and Television Usage

The songs from South of Heaven have found their way into various media, underscoring the album’s lasting appeal. Below is a table of media appearances:

Critical Reviews and Retrospectives

Upon its release, South of Heaven garnered a spectrum of reviews, ranging from critical to laudatory. The album’s departure from Slayer’s previous high-speed approach left some fans and critics uncertain, but it ultimately gained recognition for its boldness and complexity.

Below is a table of notable reviews:

After South of Heaven

Following the release of South of Heaven, Slayer continued to evolve and expand their influence within the metal genre. Their subsequent album, Seasons in the Abyss, released in 1990, built upon the foundations laid by South of Heaven, blending fast-paced thrash with slower, more melodic elements.

The band’s popularity surged in the early 1990s, despite internal tensions and lineup changes. Drummer Dave Lombardo departed in 1992, only to return in 2001, while the band continued to release new material and tour extensively. Slayer maintained their reputation as one of the most formidable live acts in metal, delivering powerful performances that drew large audiences worldwide.

As of October 2023, Slayer has officially retired from touring, having completed their final world tour in 2019. However, their legacy endures, with their music continuing to inspire new generations of metal musicians and fans alike.

Remasters and Reissues

Since its original release, South of Heaven has been remastered and reissued several times, offering fans enhanced audio quality and additional content. These reissues have ensured the album’s continued relevance and accessibility to new audiences.

Below is a table of remasters and reissues:

These editions have included bonus tracks and remastered audio, enhancing the listening experience for both long-time fans and newcomers. For more information on these releases, visit the official Slayer website.

Conclusion

More than three decades after its release, South of Heaven remains a seminal work in Slayer’s discography and a touchstone for the thrash metal genre. Its daring departure from the band’s previous sound demonstrated Slayer’s willingness to innovate and push boundaries, a trait that has cemented their status as metal legends.

For further reading and exploration of similar topics, check out our articles on Divine Intervention by Slayer and Seasons in the Abyss by Slayer. Additionally, explore the Wikipedia page for “South of Heaven”, the official Slayer website, and the record label’s website.

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