Even the faster speed songs and the savage self-combative moments of thrash carry a complexity borrowed from the progressive rock gods of the previous generation and the metal masters who bestowed their creations with the complex metaphorical language of imagination. Metal Blade Rhythmic emphasis comes entirely through guitars, which lead drums because the linear complexity tracking of the song moves fluidly through the variations of riffing which move, ambient, through patterns over the percussive components of the song, allowing drums to maintain greater simplicity and to unleash guitars to freedom of voicing over predictable rhythm upholding self-defined major components of each song. Nihilism pervades also the virulent lyrics and the haphazard, almost careless method with which guitarists K. King and J. Hanneman drop into a solo and work it through some motions of noise. The core of this comes within the text of Slayer's obssession with the seat of control of violence and death, as well as from the alienated methodology of their major ancestors in hardcore and thrash. A complete lack of metaconcepts, a complete lack of vision, a complete lack of artistic impetus.
Occasional parts take off, but fall, sloppily, into simpler patterns or simple speed repetition.
It's toned down, although many songs are faster than the more late speed metal South of Heaven and Seasons in the Abyss.