INTRODUCING: Lowen

As we approach the denouement of 2024, when music critics are frantically working on their Album Of The Year lists, one thing is for certain: You’re bound to see Do Not Go To War With The Demons Of Mazandaran, the new offering from LOWEN, make an appearance on more than a few metal journo’s lists. An incredible piece of work that combines BOLT THROWER style riffs with Middle Eastern folklore, political rage, and the jaw dropping powerful pipes of vocalist Nina Saeidi, it has turned more than a few heads since its release in October.



One of the most remarkable things about Demons… is just how much of a step up it is from their 2018 debut, A Crypt In The Stars. While there were glimpses of the band’s vision and talent on that record, the leaps forward they’ve made in their songwriting, performance and production are nothing short of remarkable. Nina and her co-writer Shem Lucas have clearly been hard at work in the intervening years. Recruiting a new drummer, Cal Constantine to bring a thunderous backbeat to the band was just the start of it.

“A lot of stuff happened,” Nina confirms. “When me and Shem started the band I wanted to be distinctly Middle Eastern but taking those ideas and expressing them in a way you hear them in your head is not an easy thing to do when you’re just starting out and finding your feet as a musician. It took us years of study. We worked with ethnomusical archaeologists and I did courses in microtonal singing. It’s a constant work in progress and we’re still studying and improving.”

While their debut was very much in the slow and brooding doom metal oeuvre, the way LOWEN have introduced death metal elements in Shem’s intricate riffing and Cal’s frantic drumming have injected an irresistible vitality to LOWEN’s sound. It’s something that Nina was keen on. “I think death metal is one of those genres where when you mix it with another genre of music it really works. A lot of death metal bands already have a middle eastern influence and I really wanted to highlight that by having an authentic Middle Eastern voice in there.”

And authentic it is. Nina is of Iranian heritage, having been born in exile after her parents fled the 1979 revolution that led to an oppressive religious regime taking power. She finds herself a complex dichotomy of having a deep and personal connection to a place she may never get to visit.


“It’s heartbreaking, honestly. During the writing of the album, my grandmother was at the end of her life, and I had a lot of conversations with her while she was literally on her deathbed, and she was like, ‘when are you going to come and see me?’ It’s such a difficult thing to experience. I could get on a plane and just go and see her, but I would be arrested at the airport. I’d get executed. And I remember growing up like I’d be talking to my grandparents and aunts and uncles, and you’d literally hear the phone tapping as your your conversations are being listened to. So yeah it’s a huge part of my identity that I’ve never been able to fully connect with.”

Unable to visit her homeland, instead she found connection through the country’s rich cultural and literary heritage, most notably the epic poem Shahnameh, or, The Book of Kings, a section of which became the title of the new LOWEN album.

Nina laughs at the suggestion that writing the album must have been like studying for a PhD. “It’s funny you should say that as I’m a PhD drop out. Maybe this album is my thesis! But yeah I was searching for a point to start writing and exploring from and I was reading the Shahnameh because it has so much mythology and the foundational myths of Iran in it. I wasn’t even halfway through and I found the chapter Do Not Go To War With The Demons Of Mazandaran. And I was like, ‘this is amazing’. I told the story to Shem, and he was like, ‘that’s going to be the album title!’ It was the perfect springboard for exploring the rest of the album’s themes.”

Those themes are as heavy as the music through which it is expressed. Through the poetry and mythology, Nina explores weighty topics such as oppression, especially of women, with all her rage expressed through a powerful vocal performance that uses the heart wrenchingly expressive singing style Tahir, rather than the death growls one would usually associate with the style of music from LOWEN. “I think sometimes it’s a lot scarier when you hear anger that’s not expressed as a shout or a word or like a screen, I think you know, like when you get in trouble at school, and like the teacher, instead of shouting at you, talks really quietly.”

To be able to express herself in such an articulate and powerful way took a lot of work. When starting LOWEN, she didn’t even see herself as a singer. “I’ve worked with quite a range of vocal teachers. I worked a lot with someone called Lila de Souza in Hertfordshire. I did some vocal training with a woman that does a lot of people in the West End. She was really Christian though and when she realised what the lyrics were about, she dropped me. We also worked with this amazing musician called Saeid Kordmafi, who collects old folk music from specific towns in Iran and is pitch perfect on a microtonal level.”

If studying epic poems and learning microtonal singing wasn’t enough, Nina also taught herself to play exotic instruments such as the Santur, or hammered dulcimer, a 56 stringed cousin of the guitar, which she used to add further depth to the rich sonic tapestry on Demons… “I had that hand made for me in Iran and it was smuggled across international borders. Not in a super illegal way but you can’t just buy them in the UK at that quality anyway.”

With this level of dedication, passion, and sheer devotion on an artistic and human level it’s no surprise that LOWEN are making such waves across the UK underground metal scene at the moment, and will surely continue to do so for years to come.

Do Not Go To War With The Demons Of Mazandaran is out now via Church Road Records.

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ALBUM REVIEW: Infectious Vermin – Rats Of Gomorrah

RATS OF GOMORRAH formed back in 2023, but their founders date further back into the death metal underground. Guitarist/vocalist Daniel Stelling alongside drummer Moritz Paulsen have been active since 2009 but playing as a duo from 2016 onward. Enter RATS OF GOMORRAH. Tired of all the average cliches of death metal bands, RATS OF GOMORRAH wanted to put their own spin on death metal while not completely abandoning the genre that gave birth to the crushing duo.



Lyrically the album takes from many inspirations in the current climate of the world, but mainly revolves around environmental and social issues that weaves into Lovecraftian horror themes to make it more infectious and darker, while retaining the death metal edge for violence that makes the cobwebs of the PMRC (Parents Music Recource Center) quake in fear. While opener Swarming Death may trick you into thinking it’s a thrash song with the buzzing guitar riff, but the rumbling vocals of Stelling lay that thought to rest and send your neck to the hospital.


Tails Unknown also lulls you into a false sense of security as Stelling’s guitar and vocals both rip and tear a black metal-esque sound, his ring wraith-like vocals cut through the guitar and drums like icicles through sheet metal. The production sound is full and vibrant as Stelling’s guitar work, while thin sounding, adds to the feel of the album to make some layers explode with flavour which Stelling does make up for in sheer ferocity in his riffs that flood the album from start to finish.

From here on out though, the album does start to dip somewhat. Not instrumentally as the guitar work is impeccable on songs like Rise From The Abyss and Towers Ropes And Knives and Paulsen’s drumming is furious and precise on tracks like Night Orbit and Vat Of Acid. The only dip in quality are the vocals. While Stelling does switch from his growls to his higher shrieks across the album, there’s almost no texture to his gutturals causing the album as a whole to take a hit to stand out from their peers.

Which is a huge shame because he has the means to fill his voice out but it lacks for the majority of the album and acts as a stone wall putting a halt to most of the momentum captured on the stand out track Vat Of Acid, a tour de force showcasing the complexity of both Stelling and Paulsen as a songwriting duo. Stelling’s shrieks are as prominent on this track, but when his growls hit, it takes a detour into bland territory.

Still, Infectious Vermin is a technically inspired slab of death metal fun. And clocking in at just over 45 minutes it does seem to drag in places that feel uninspired, but it’s hard to argue that the album is filled with a few catchy choruses, crust laden riffs and beautifully disfigured drum work. It just needs more inspired vocals to make the rest of the album sturdy to stand against the weight of the death metal scene.

Rating: 6/10



Infectious Vermin is available now via Testimony Records

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Mallavora: Champions Of Accessibility

Anyone can become disabled at any point in their life. That’s a fact, and yet it’s never spoken about. Some people are born with a disability, and therefore don’t know any different. Others acquire a disability throughout their life. Some people might have multiple disabilities, whereas others might just have one. Regardless of this, society dictates that disabled people should be seen as ‘inspirational’, ‘brave’ or ‘a warrior’. Whilst some people with disabilities might wear these like a badge of honour – and there’s no reason why they shouldn’t – others might find this a very narrow way of viewing things, as if their feelings are being dismissed. The truth is, even people who feel as if they are a warrior or brave can feel frustrated, embarrassed, angry, or any number of different feelings. It is a part of being human. Very slowly, the narrative around disability is changing, and at the forefront of this conversation are MALLAVORA, a metalcore quartet from Bristol whose EP, Echoes, deals with these feelings of being disabled head on.



Vocalist Jessica Douek lives with fibromyalgia and is disabled and guitarist Larry Sobieraj sit down with us to discuss Echoes, how the band got together, and why they’re campaigning for music venues to have more accessibility.

“Me, [drummer] Jack [Pederson], and Ellis [James, bass] all met at the University of Birmingham,” Larry explains. “We all started jamming together for quite a number of years and it took us a little while to get to somewhere where we making the music we thought we should make. In 2019, Jessica joined the band for one show, and from then onwards, that’s when MALLAVORA that is today was born.”

Jessica says that it was weird joining the band at first because although she had been in a band before, it was a cover band in school that they didn’t take seriously. “I did really struggle to put my own stamp on things. When we’d recorded the Paradise EP, the songs were already written, but that helped me find my feet. Imposter is the first song I wrote and screamed on, and I’ve slowly grown in confidence over the years. You can see the difference in the music videos.”

The name MALLAVORA doesn’t have a meaning, but it has origins in the genus for honey badger, which is mellivora. “The boys liked the idea of a honey badger because it’s small and unassuming, but also super vicious. They tweaked the word to make it sound more like a music project,” Jessica explains. She laughs as she remembers how in the early days, the band tried out a honey badger logo, but it ended up looking like a sports brand.

Their latest EP, Echoes, has come from the heart as it deals with their experiences living with disabilities. “The conversation around disability and chronic illness can feel quite detached from the humanity and that person’s experience, and we hope that people can listen to it and get a glimpse of how it feels and the real range and roller coaster of things that you deal with,” Jessica explains.

Earlier this year, MALLAVORA won a record deal with Marshall Records through Kerrang! Radio. “We entered the competition about a year ago, and we found out in January this year that we were in the semi-finals, which is when we started writing songs. In February, we had to get as many votes as we can from the public as possible, so we made about ten TikToks a day for a week and we put posters up in Bristol. We found it really heart-warming to see the support. We got to the final where we were judged by ten music industry heavyweights and we came out on top, which is crazy,” Larry explains.


He goes on to explain how insane it was that their EP was produced by SKINDRED guitarist Mikey Demus, as he’s been a hero of the band for their entire lives. The prize also included performing at Download Festival, which they describe as a ‘whirlwind’, especially stepping out onto the stage, as well as being backstage with some of the biggest names in rock music.

When it comes to live shows, MALLAVORA are keen to shine a spotlight on accessible venues, which is helpful not just for the band themselves, but for their fans. People with disabilities should be able to go to concerts, just like anyone else. Yet a lot of venues – especially small and independent ones – aren’t accessible for people. Furthermore, whilst there are a lot of venues in cities such as London, the journey can be difficult for people with disabilities.

“We have a lot of disabled fans and we feel very strongly that no matter who you are, you should be able to access live music and go to gigs. At the moment, in the small and medium-sized gigs, there is an accessibility problem. We don’t think it’s fair that wheelchair users can’t go to a lot of small gigs and that is even more of a problem if you’re an artist. A lot of the times, they can’t get into the venues, so we’re blocking off potential future talent. We just think that’s not okay. We want to change things,” Jessica explains.

To make their shows accessible, MALLAVORA play wheelchair-friendly venues, hand out lyric sheets, get sign language interpreters, play venues that have accessible toilets, and have a fifteen minute break to help the band and audience keep the energy up, as well as not using strobe lighting. Whilst these changes seem obvious on paper, MALLAVORA have just provided the drop in the ocean that will have a ripple effect on accessibility in the entire music industry.

Echoes is out now via Marshall Records.

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LIVE REVIEW: Meryl Streek @ Whelan’s, Dublin

If a person asks the question, is punk truly dead? Please point them in the direction of MERYL STREEK. Touring his latest album, Songs For The Deceased, Dublin hosted the penultimate show of an electrifying UK & Ireland tour.

Yinyang live @ Whelans, Dublin. Photo Credit: Orla Joyce

When an artist is given the task of being not only first on the bill but also the only support act it is no mean feat. It is particularly daunting in a smaller venue when the crowd is just arriving, getting drinks, searching for friends, etc. Their attention may be hard to grab. But opening the night in one of Dublin’s most cherished venues, Whelan’s, was YINYANG. She is an up-and-coming punk artist, incorporating hip-hop and electronic influences. Once on the stage, it was her own. Engaging with the crowd and performing with a level of professionalism more experienced artists would struggle with. YINYANG is an artist on the up and up, with a sound uniquely her own and creativity to boot, she is one to watch.

Rating: 9/10Meryl Streek live @ Whelans, Dublin. Photo Credit: Orla Joyce

After sufficiently warming up the crowd, they were ready for more, and MERYL STREEK took to the stage. This politically driven punk artist was greeted by an already raucous atmosphere. A contributing factor to the energetic crowd may have been that this was no ordinary Friday in Dublin. His home town show took place the same day as a much anticipated General Election. This serendipitous combination of events brought a more poignant feeling to the songs performed. The show began with Welcome, a song made up of sound bites from politicians and news clips discussing social and economic issues facing the Irish public.

There was a powerful performance by all involved, enthralling that riled up the crowd from beginning to end. From mosh pits to circle pits, Whelan’s had it all as the public had an opportunity to release some pent-up frustrations and feed off the catharsis of the moment. The issues tackled in MERYL STREEK‘s music are not confined to the island of Ireland. Sentiments of being let down by a system or forgotten by society transcend borders. Punk music is alive and well and will continue to be, whilst people are still left behind by repeated systemic failures.Meryl Streek live @ Whelans, Dublin. Photo Credit: Orla Joyce

Though stage effects were minimal, they were no less effective and complemented the energy of the show. House lighting was rarely used but a backdrop of protest posters and politically driven signage. A flashing torch worn by MERYL STREEK completed the atmosphere and the urgency of the message conveyed. As if this wasn’t enough, mid-way through the set, a guest joined the stage. Next on the setlist was Terence. Before launching into the song, a family member of the protagonist adds context to the lyrics for those unaware. An emotional speech was made regarding a twenty-year-old Dublin native, Terence Wheelock and the circumstances surrounding his death in 2005.

A concert like this is a reminder of the important role punk music has in society. So long as there is systematic oppression, punk will be found. It offers a corner of culture that dares to say you are seen, you are heard, and you are valid. This was apparent in how the crowd received MERYL STREEK and how he embraced them. Breaking the barriers between artist and patron by getting off the stage, being a vessel with a platform and using that platform well.

Though the show itself was an incredible hit, one drawback was the lighting. It was the constant strobe-like effects, albeit atmospheric, were overwhelming at times. Aside from this, it was a night full of talented musicians and a show to remember.

Rating: 8/10

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Ensiferum: We Like To Break Barriers

Over the years, the world of heavy metal music has had many types of sub genres that every so often come to the forefront of our attention. From the ever popular metalcore to the more niche pirate metal, the boundaries for genre are always going to be endless. One particular type of metal genre that has always remained interesting and fun is that of Viking metal. Over the years, acts like TURISAS, BROTHERS OF METAL and, of course, AMON AMARTH have always displayed entertaining performances and albums. However, Finnish folk metallers ENSIFERUM are a band on the eve of their 30th anniversary together and their latest and incredibly fun album, Winter Storm shows they’re ready to take on the world once more. Recently we were lucky to have a chat with bass player Sami Hinkka to discuss the new album and what lies ahead for ENSIFERUM after so long together as a band.



From the get go, listening to Winter Storm hits you like a freight train and once it gets going, there is very little you can do to be able to stop it. Throughout the album, the scale of epicness is dialled up to eleven with what feels like a multitude of vocalists. It really adds to the enjoyment of the record as it keeps it sounding fresh and unique. Throughout, Petri Lindroos and Pekka Montin share harsh and clean vocal duties. Sami goes on to explain how the band employed the use of a choir to give this album its enormous feel and epic scope. “We have the choir but we also wanted to have some vocals that kind of feel like they’re in the lead amongst the rest of the singers, my voice is quite fucking loud in the choirs which felt weird at first but by the end, it worked in my opinion but when you added the octaves, it added the giant ball of sound.” Sami further refers to it as a “double edged sword which adds to the diversity to ENSIFERUM with it going alongside both metal and folk instruments”. It’s a factor that contributes to music listeners being able to identify the band out when hearing them in the wild.

By employing all these styles that work for the band, Sami informs us that it has helped the band stick to their guns when it comes to recording music and not just always bending down to the whims of fans. Back in the day, ENSIFERUM were able to build their fanbase by making fun and niche drinking songs that wouldn’t be amiss from Viking Halls, but the band wanted to look further than that. Sami tells us one day that a friend once told him “you guys could be so much bigger if you give people what they want”, while admitting that his friend has a point, it further inspired the band to keep changing their style, triumphantly telling us that “we know what we want and we know what we like. We like to break barriers!”


The composing and recording process for Winter Storm took place over the course of four years from 2020. “We have a policy that every idea needs to be tried, no matter how crazy. Whilst we’ve not had hip hop, we’ve had reggae ideas, but the point is it will be tried, it takes a lot of time because we twist and turn.”

Once the ideas evolved and melodies were added, Winter Storm started to take shape. After being hampered by the COVID pandemic which put a stop to touring for the band and many others, the notion of not having much inspiration after that brought in confusion amongst the band before they started to get going once more. Sami reveals, “as the lyric writer, this was the hardest album I’ve ever done. It took ages. We had raw demos but we couldn’t progress until we had vocal demos!” After writing dozens of lyrics and passages, nothing felt right for Sami as he humorously describes what he was writing simply as “shit”.

Resorting to old books of his that would help find that spark and themes to focus on, Sami had a moment of inspiration. “The book that I have been writing myself.” Upon this realisation, Winter Storm finally had a foundation that they could build upon. With ENSIFERUM working as a full democracy (or at least a majority), the rest of the band trusted Sami in using this book as the basis for the upcoming album. When the idea came, the process to Sami “wasn’t easy, but the whole thing got easier. Especially when certain parts of songs would fit this particular part of the book or this character, once this happened it all started to work really well that worked really well with raw ideas we had for songs. The recording then went very well and here we are!” Whilst Sami doesn’t give much about the book away, he does tease that it is “100% fantasy that is a saga that will go through generations”, it’s an exciting extension of ENSIFERUM that lies ahead.

Moving on, discussion turns to ENSIFERUM reaching their 30th year as a band, a huge achievement that many bands can only dream of reaching. When asking Sami what it is like to be facing an anniversary such as this, he endearingly grins before jokingly saying he feels “old”, he hasn’t let it get him down though. “I can see I’m not eighteen anymore but I don’t feel that old, nor do I feel delusional. I feel very privileged, from getting my first bass at eleven, I never thought I’d make a career of being a touring musician. I feel humble that we’re still doing this.”

Even though thirty years is a long time together as a band, the future is still bright for ENSIFERUM. In the new year, they’ll be joining the line up of Pagan Fest, it will also be the first chance to see songs from Winter Bone live too! As the chat comes to a close, Sami leaves us some final breadcrumbs to follow by teasing us and revealing that there are “new melodies and a bunch of riffs and maybe two songs that are nearly ready, album number ten is definitely under construction, let’s hope the world stays sane so people can hear them!”

Winter Storm is out now via Metal Blade Records.

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FEATURESINTRODUCINGMETALCOREPROGRESSIVE METAL

If we were to be overly pedantic, OBEYER shouldn’t really be considered a ‘new band’. The Northampton-based quartet are veterans of the UK circuit and originally got together in 2010, so have already enjoyed a career longer than most bands could dream of. They’ve got some serious underground pedigree and even wound up in The Guardian once, so by most metrics would be considered an established act.



However, OBEYER are not the band they once were. Previously known as LAY SIEGE, they have experienced a dramatic change in sound and attitude, and it’s revitalised them. LAY SIEGE were a decent but predictable metalcore band, but OBEYER are a far more nuanced and progressive-minded act. They’ve added ethereal soundscapes and off-kilter songwriting, and the result is one of the most exciting metalcore debuts of 2024.

“We went into this this album as more of a vanity project, I guess, wanting to prove to ourselves that we could write these songs, and that we could step up,” explains vocalist Carl Brown. “You know we had no vision of being in this situation that we’re in now. We had no expectation that it was going to happen until the masters came back, and we were all sitting there listening to it and thought, ‘you know what? It is essentially a new band, a new sound.’”

He’s talking about Chemical Well, their recently released full-length. Across ten tracks and forty-two minutes of runtime, OBEYER showcase a forward-thinking style of metalcore that is bound to raise eyebrows. Where a lot of their peers are have turned towards nu-metal or electronica for influences, OBEYER are more interested in post-metal and sludge. This gives Chemical Well a distinct vibe, akin to GOD FORBID covering CULT OF LUNA, and they’re heavier and nastier than before.

A big reason for this is that OBEYER are very much a group project, with all four members taking part in the writing process. “We write old school,” explains drummer Lewis Niven, “We all sit in a room, and Jamie [Steadman, guitars] will play a riff or something, and then we’ll put some drums to it and start to structure a song like that. I know a lot of bands have one guy that writes everything on a computer and just sends it out and everyone learns it. We’ve never been like that. It has its pros and its cons. It means writing can take a while. It can be quite a back-and-forth process, but the songs build in a more natural fashion.”

As a result, Chemical Well is a very “organic” sounding record. The likes of A Momentary Death, Second Sun and the immense opener Witness are all chaotic pit-igniters with a hefty amount of chug, possessed with all the fury of a man who just bit into a KitKat with no wafers in it. But they also feel like they’ve developed over time, rather than being bolted together in a metalcore factory.


That being said, Chemical Well is accessible enough that OBEYER could tour with BURY TOMORROW and not feel out of place. It’s an aggressive and occasionally very dark record, but the thunderous riffs and earth-shaking breakdowns will appeal to any professional fist-swingers out there. And yes, they’re not averse to sneaking the odd clean vocal line in either, even if it was never their original intention. The more melodic parts are all thanks to a happy accident.

“Seven or eight years ago, we were on tour and the mic dropped from the stand on one of the shows. Jamie, instinctively picked it up and just started singing. Our jaws all dropped and we just thought, ‘what the fuck was that? Where did that come from?’” Carl laughs. “It’s taken seven years of bullying, and we’ve finally got him to contribute some vocals.”

You’ll spot a few genre cliches in there, but for the most part, OBEYER’s debut album is perfect for anyone that wants their ‘core to push boundaries. They’ve already attracted the attention of PERIPHERY‘s Misha Mansoor and signed to his 3DOT Recordings label, and with the hype machine behind them, the future seems bright for OBEYER.

But as violent, abrasive and uncompromising as Chemical Well gets, there’s a wholesome side to OBEYER as well. They’ve known one another for years now, and despite spending a hefty chunk of their adult lives rehearsing, gigging and stuck in vans together, they’re still mates. The line-up is largely unchanged from the LAY SIEGE days, and having responsibilities like full-time jobs and families hasn’t diminished their enthusiasm. If anything, the band is a way to keep their friendship intact. As Carl says; “we’re all dads. We’ve all got jobs. Being able to meet up on a regular basis and scream my head off is a good excuse to see my mates.”

Chemical Well is out now via 3DOT Recordings.

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Jeff Hanneman: O Criador do SLAYER Thrash Metal

                          Jeff Hanneman: O Arquiteto do Thrash Metal

Texto por Johnny Z.
Crédito/Fotos: Divulgação/Google/Autores Desconhecidos

Jeff Hanneman, lendário guitarrista e fundador do Slayer, nasceu em 31 de janeiro de 1963 e se tornou um dos músicos mais influentes do Thrash Metal. Sua genialidade na guitarra e talento para compor algumas das músicas mais brutais e icônicas do gênero ajudaram a definir o som do Slayer e do Metal extremo como um todo.

Se estivesse vivo, Hanneman completaria 61 anos hoje, dia 31 de janeiro. No entanto, sua trajetória foi interrompida precocemente em 2 de maio de 2013, aos 49 anos, devido a uma falência hepática relacionada a problemas de saúde que surgiram após ele contrair fasciíte necrosante — uma infecção rara e grave após uma picada de aranha em 2011.


Jeffrey John Hanneman cresceu em uma família militar e desde cedo teve contato com a cultura bélica, o que mais tarde influenciaria suas composições no Slayer. Inspirado por bandas de Punk como Dead Kennedys, GBH e The Exploited, ele trouxe uma agressividade única ao Thrash Metal, misturando a velocidade e a crueza do Punk com a complexidade do Metal.



Em 1981, Hanneman fundou o Slayer ao lado do guitarrista Kerry King, do baixista e vocalista Tom Araya e do baterista Dave Lombardo em Huntington Park, Califórnia/EUA. O grupo rapidamente se destacou na cena da Bay Area com seu som brutal, rápido e recheado de letras polêmicas. Seu álbum de estreia, “Show No Mercy” (1983), já mostrava o DNA feroz da banda.

Jeff Hanneman foi o principal compositor de algumas das músicas mais importantes do Slayer e do Thrash Metal. Entre elas: “Angel of Death”, “Raining Blood”, “South of Heaven”, “War Ensemble”,“Seasons in the Abyss”, dentre muitas outras.

Seu estilo de tocar era rápido, agressivo e técnico, mas sem perder a espontaneidade e a sujeira do Punk, criando um som caótico e violento que definiu a sonoridade do Slayer desde o início.



Mesmo após seu afastamento do Slayer devido a problemas de saúde, Hanneman continuou sendo reverenciado pelos fãs. Seu último crédito como compositor na banda – em vida – foi no álbum “World Painted Blood” (2009). Após sua morte, o Slayer seguiu com Gary Holt (Exodus) ocupando seu posto, mas Hanneman nunca foi realmente substituído, pois seu espírito permaneceu impregnado na essência da banda e inclusive em seu substituto, que nunca deixou de homenageá-lo nas apresentações.



Após a sua morte, que devastou a cena Metal mundial, a banda contou em alguns shows com Pat O’ Brian (na época no Cannibal Corpse) e Phil Demmell (que atuava no Machine Head) em poucas apresentações antes de Gary Holt, mas sempre homenageava Hanneman projetando seu nome no telão e encerrando os shows com a frase “Hanneman Lives”.

Hoje, aos 61 anos se estivesse vivo, Jeff Hanneman é lembrado como um dos maiores guitarristas e compositores do Thrash Metal. Sua influência transcende gerações e sua música continua a inspirar novos músicos e fãs ao redor do mundo. Esse ícone pode ter partido, mas seu legado é e sempre será eterno.

R.I.P Jeff
You’ll never be forgotten!!