Slayer guitarist got more public engagement by honoring her old (and reactivated) band and Iron Maiden, but her own repertoire also has her qualities
Kerry King has been admitted to interviews who was surprised when he saw negative comments about From Hell I Rise (2024). The most critics say the guitarist replied, in his first and so far only solo album, the sound of his former band, the Slayer. For the guitarist and one of the founding members of the group ended in 2019 and reactivated in 2024 only for special concerts, it is obvious that it will sound this way. After all, his work from decades alongside Tom Araya (voice and bass) and, most of the time, Jeff Hanneman (guitar) and Dave Lombardo (drums) represents him artistically. That is him. You can’t be anything else.
Therefore, those who expected to witness something different from what was offered during their long -awaited solo show this Sunday, 4, on the third and last day of the Paulistano Festival Bangers Open Air, may be a little on the outside. The show performed by King alongside his current partners-Mark Osegueda (Death Angel) on vocal, Paul Bostaph (Slayer, Exodus) on drums, Phil Demmel (former Machine Head) on the other guitar and Kyle Sanders (Hellyeah) on the bass-strictly follows the Thrash Metal booklet established by, among other consecrated names, the own names, their own names, Slayer.
Not everything is the same, of course. Some of King’s colleagues Salpicam different spices. Oegueda, for example, even seeks to fit a little by Araya’s style, but has more vocal features – what is noted in Death Angel, including. Sanders does not innovate on the instrument, but has the presence of the stage of the type that has never seen in the old group of its current boss. Demmel, a guitar legend alone, is surprisingly well used: sole as much as the “boss” or even more than him.
As expected, much of his repertoire in Bangers came from From Hell I Rise. The highlights came from the fifth song forward: “Two Fists”, a little punk with the right to dispense guitar solo; “Idle Hands”, a song King himself says is the perfect link between Slayer and his solo career; “Shrapnel”, Riff and progress clearly inspired by Black Sabbath; and “From Hell I Rise”, a track that baptizes the 2024 album and closes the 100% Thrash vein set.
But the audience came down, even with the versions. First, “Discile”, Slayer’s music, mobilized wheels on the premium track-something that had not happened in the other several shows on Friday, 2, and Saturday, 3-and even significant. Subsequently, “Killers” commanded the awaited tribute to Iron Maiden from the Paul Di’anno phase, made at shows since the death of the aforementioned vocalist last October at age 66. Clive Burr, a drummer also in the early days of the English group, was another name cited in the tribute.
Nearby, the gates of hell opened with the noises that introduce “Raining Blood.” It was not stone on stone. Perhaps it is the largest heavy metal classic itself to be touched on the main stages of the festival in 2025 – considering that “Burn” (Deep Purple), performed by Glenn Hughes, does not belong 100% to the genre. The historic track was still amended with “Black Magic”. It made so many people pleased that some didn’t even be to watch the conclusion with “From Hell I Rise.”
Despite the most acclaimed moments by the public being anchored in the honors to Iron Maiden and Slayer, one should not dispense with Kerry King’s own repertoire and band. It remains to be seen if the guitarist will be able to transcend the audience’s interest in the classics to introduce his new compositions once and for all. But this is a problem for later. For now, you just need to know that the guitarist’s show and your support group is from car@lho.
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Source: Rollingstone
Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.
