Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | |
Although it did not enter any charts, Hell Awaits was hailed upon its release as Slayer's most progressive recording, featuring much darker thrash-oriented style, with unusual arrangements such as varying tempos, and dissonant nuances that "paved the way to a wholly distinctive sound all their own," according to Allmusic reviewer Eduardo Rivadavia. Rivadavia awarded the album four out of five stars, calling it an "irresistible force, but one could still make a confident point that Hell Awaits' uniquely daunting compositions arguably proved just as influential to future extreme metal acts."It has sold over 1.000.000 records worldwide according to Brian Slagel.
In the book Legends of Rock Guitar, Hell Awaits was defined as "a psychotic exploration into the depths of Satanism and physical torture." The book, a chronology of the great guitarists of rock which includes both Kerry King and Jeff Hanneman, observed the band's evolution in comparison with their previous album, Show No Mercy, saying, "The musicianship is improved, as is lead singer Tom Araya's voice, making the band sound less like hacks and more like metal fiends. The sludgy riffs, which were pure Sabbath, are offset by some of King's and Hanneman's faster solos, giving Slayer entrée into the speed metal realm."
Read more about this topic: Hell Awaits
Famous quotes containing the word reception:
“To aim to convert a man by miracles is a profanation of the soul. A true conversion, a true Christ, is now, as always, to be made by the reception of beautiful sentiments.”
—Ralph Waldo Emerson (1803–1882)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)