Now Hell Awaits original blows away the remaster, I don't know what they were trying to do here. Has been completely stripped of it's bass and dynamics. Similar for Reign in Blood, but not quite as bad. I don't find it hard to listen to, but it does lack a good bit of bottom and some dynamics compared to the original.
I don't have South of Heaven original. The remaster sounds good to me on it's own, but I'd like to compare it with the original someday. Location: US. They both sound nice to my ears. They could probably both use some GOLD treatment though I accidentally bought the remaster of Hell Awaits.
I don't like the sound of this one at all. Sounds brittle. Here is the WAV of the title track. The WAV doesn't look too bad though Not overly compressed. Maybe it's just a bad recording. Who knows. I have nothing to compare this to. Slayer on vinyl seems tough to come by these days. JPG File size: Ctiger2 , Jan 26, OE3 , Jan 26, OE3 , Feb 5, OE3 , Feb 26, I got lucky recently and found a great copy of South of Heaven for cheap. Looks and sounds great.
Widely considered the pinnacle of speed metal, Reign in Blood is Slayer's undisputed masterpiece, a brief under half an hour but relentless onslaught that instantly obliterates anything in its path and clears out just as quickly. Producer Rick Rubin gives the band a clear, punchy sound for the first time in its career, and they largely discard the extended pieces of Hell Awaits in favor of lean assaults somewhat reminiscent of hardcore punk though distinctly metallic and much more technically demanding.
Reign in Blood opens and closes with slightly longer tracks the classics "Angel of Death" and "Raining Blood" whose slower riffs offer most of the album's few hints of melody. Sandwiched in between are eight short all under three minutes , lightning-fast bursts of aggression that change tempo or feel without warning, producing a disjointed, barely controlled effect.
The album is actually more precise than it sounds, and not without a sense of groove, but even in the brief slowdowns, the intensity never lets up.
There may not be much variation, but it's a unified vision, and a horrific one at that. The riffs are built on atonal chromaticism that sounds as sickening as the graphic violence depicted in many of the lyrics, and Kerry King and Jeff Hanneman's demented soloing often mimics the screams of the songs' victims. It's monstrously, terrifyingly evocative, in a way that transcends Reign in Blood's metal origins.
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