Kerry King’s debut album was an event that metal fans had been waiting for since the breakup of Slayer in 2019. After much speculation and rumors, on May 17th, the album From Hell I Rise was finally released, which King decided to share with the world. The newly formed Reigning Phoenix Music label was responsible for its release, and the band lineup promised to be very strong. Just looking at names like Paul Bostaph and Phil Dammel, one could feel a thrill of excitement.
At first, there was much talk about potential vocalists, with many expecting Phil Anselmo to be involved. However, ultimately Mark Osegueda from Death Angel took the microphone. This was a choice that surely appealed to many thrash metal fans, giving the album a character very similar to Slayer’s style. Prior to the release, we had the opportunity to hear two singles, “Idle Hands” and “Residue,” which hinted at a direct continuation of what we knew from Repentless.
The album From Hell I Rise can be divided into three layers that King decided to highlight. In addition to Slayer’s characteristic riffs, new elements and influences can also be heard, refreshing the sound. One could get the impression that Kerry decided to take a new direction, experimenting with sound, but sometimes the music sounds too predictable and lacks a certain freshness. Dammel’s solos have their moments, but they significantly emphasize the lack of other musical innovations on the album.
Osegueda’s vocals play a crucial role throughout, reminiscent of Araya’s style from Slayer. While the performance is very good and energetic, one might wonder if it could have been more individual and distinctive. Many listeners might expect more expressiveness and vocal diversity.
It is worth emphasizing the great-sounding drums of Bostaph, which add dynamism and power to the album. Several songs, such as “Residue,” “Crucifixation,” or “Shrapnel,” stand out for their sound and aggression, surely appealing to thrash metal fans. However, as a whole, the album doesn’t surprise and doesn’t make a huge impression on me. It lacks depth, freshness, and breakthrough that often determine the memorability of a given record.
From Hell I Rise has a difficult task because it does not come under the Slayer label, which could automatically attract attention and recognition. Kerry King opted for a new path, but did he achieve the intended effect? This question remains open, and each listener will have to judge for themselves whether this solo adventure of the Slayer leader meets their expectations. It is possible that over time, the album will gain value and be appreciated for its innovative approach to thrash metal, but currently, I am unable to definitively assess its place in the genre’s history.
In conclusion, From Hell I Rise is a solid and well-crafted album that sounds great and will surely find its fans among thrash metal enthusiasts. However, it lacks the spark that its somewhat predictable nature and lack of innovation cannot provide. I leave the final evaluation to the readers and encourage them to independently assess this release. One may be delighted, another slightly disappointed – it is a matter of personal taste and expectations. It is worth giving this album a chance and discovering for yourself what Kerry King has to offer beyond Slayer.
