#Gary Holt

[tswiftupdatess]

Slayer guitarist Gary Holt praises Taylor Swift:

“I love Taylor Swift! Why all the hate? She’s an extraordinarily hard worker, she’s super f*cking nice to everybody, and people hate her. She’s just the biggest pop star on Earth, and more power to her. I like the songs! I’m not a Swiftie, but when I Knew You Were Trouble comes on the radio, I don’t change it, I like it! I like pop music. Always have.” (July 19, 2024)

[jeff-burton]

Jeff Hanneman

[jarofalicesgrunge]

𝗘𝘅𝗼𝗱𝘂𝘀

[rattleheth]

Anjay halo ges

[formulas-fatal-to-your-mom]

[ticibi]

fav thrash band fr

[butterdoki]

Insta drawing requests!⚔️

(I should do a Tumblr drawing requests one day)

[duffsmckagan]

[galkfire]

trying to draw other band members (hard challenge)

[neardeathaura]

Been listening to a lot of bonded by blood again

I MISS PAUL SO FUCKING BADDDDD FUCKKK AAAAAA

The fact that there's no colored vinyl variants with the original BBB cover art / with Paul's vocals is bullshit

[wwonderworker]

My new CD

[metalcultbrigade]

Exodus - Fabulous Disaster 30/01/1989.

[jeff-burton]

Kerry King & Jeff Hanneman

[yuritestikov]

⚡️🤷‍♂️⚡️

[metalsongoftheday]

Friday, March 7: Slayer, "Take Control" [ENCORE]

Repentless came out to decidedly mixed reviews, but there was no other way Slayer’s first album without Jeff Hanneman could be received.  Even more than God Hates Us All or Christ Illusion, this album was the Kerry King show: although the band managed to flesh out Hanneman’s “Piano Wire” from a demo to a working track, “Atrocity Vendor” was the only other song not written solely by King, and without Hanneman around to provide some checks and balances, Repentless found Kerry King at his most unrestrained, which was too much for even a lot of diehards to take.  But even with some truly lunkheaded lyrics and aimless riffing, Slayer could still be the most lethal band on the planet when everything aligned, and “Take Control” would’ve been a highlight on any of the band’s last three albums.  Good production was definitely a major factor, as Terry Date’s recording was far more robust than the anemic production Josh Abraham and Greg Fidelman delivered on Christ Illusion and World Painted Blood.  But focus mattered a lot as well, and “Take Control” was not only full of typical Slayer venom, but was also played with purpose, as Gary Holt ably filled in on lead guitar while Paul Bostaph slammed his drums with perhaps the most intensity we’ve ever heard from him.  Yes, both Hanneman and especially Dave Lombardo were dearly missed, but Tom Araya snarled with much more fury than anyone expected, and Date’s mix gave King’s rhythm guitar added bite. The tune ably continued the rampage brought forth by “Repentless”, and briefly gave hope that Slayer could produce a great album without Jeff Hanneman.  The rest of Repentless wasn’t quite as strong, but “Take Control” at least showed that the right dose of Kerry King could still pack one hell of a punch.

[guerrilla-operator]