Slayer Show No Mercy T-Shirt
– The Slayer Show No Mercy T-Shirt features the iconic Show No Mercy album cover design.
– Once in a while, an image comes along that represents a timeless logo in rock history. This Slayer Show No Mercy T-Shirt image features one of ’em.
– This Slayer Show No Mercy T-Shirt is made in a black cotton with a slim fit for a perfect wear out for any place.
– Wear this Slayer Show No Mercy T-Shirt out and show your love for Slayer and the early Show No Mercy album!
Slayer Show No Mercy T-Shirt Details:
-Show No Mercy Art
-Official Licensed Merchandise
-100% Cotton
-High Quality Screen Printed
-Standard-Fitting
If you liked this Slayer Show No Mercy T-Shirt, check out the Slayer Hell Awaits Shirt !
Slayer
Slayer was formed in 1981 by Kerry King, Jeff Hanneman, Dave Lombardo, and Tom Araya in Huntington Park, CA. The group started out playing covers of songs by bands such as Iron Maiden, Black Sabbath, Judas Priest and Venom at parties and clubs in Southern California. The band’s early image relied heavily on Satanic themes that featured pentagrams, make-up, spikes, and inverted crosses. Rumors that the band was originally known as Dragonslayer, after the 1981 film of the same name, were denied by King, as he later stated: “We never were; it’s a myth to this day.”
In 1983, Slayer was invited to open for the band Bitch at the Woodstock Club in Anaheim, California to perform eight songs, six of which were covers. The band was spotted by Brian Slagel, a former music journalist who had recently founded Metal Blade Records. Impressed with Slayer, he met with the band backstage and asked them to record an original song for his upcoming Metal Massacre III compilation album. The band agreed and their song “Aggressive Perfector” created an underground buzz upon its release in mid-1983, which led to Slagel offering the band a recording contract with Metal Blade.
Slayer is considered a thrash metal band. In an article from December 1986 by the Washington Post, writer Joe Brown described Slayer as speed metal, a genre he defined as “an unholy hybrid of punk rock thrash and heavy metal that attracts an almost all-male teen-age following”. Describing Slayer’s music, Brown wrote: “Over a jackhammer beat, Slayer’s stun guitars created scraping sheets of corrosive metal noise, with occasional solos that sounded like squealing brakes, over which the singer-bassist emitted a larynx-lacerating growl-yowl.”
In an article from September 1988 by the New York Times, writer Jon Pareles also described Slayer as speed metal, additionally writing that the band “brings the sensational imagery of tabloids and horror movies” and has lyrics that “revel in death, gore and allusions to Satanism and Nazism.” Pareles also described other “Big Four” thrash metal bands Metallica and Megadeth as speed metal bands. Slayer’s early works were praised for their “breakneck speed and instrumental prowess”, combining the structure of hardcore punk tempos and speed metal. The band released fast, aggressive material.
The album Reign in Blood is the band’s fastest, performed at an average of 220 beats per minute; the album Diabolus in Musica was the band’s first to feature C♯ tuning; God Hates Us All was the first to feature drop B tuning and seven-string guitars tuned to B♭. AllMusic cited the album as “abandoning the extravagances and accessibility of their late-’80s/early-’90s work and returning to perfect the raw approach”, with some fans labeling it as nu-metal. Slayer is one of the most influential bands in heavy metal history.
Slayer’s “downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork set the standard for dozens of emerging thrash bands” and their “music was directly responsible for the rise of death metal” states MTV, ranking Slayer as the sixth “greatest metal band of all time”, ranking number 50 on VH1’s 100 Greatest Artists of Hard Rock.
They inspired generations of metal bands.”Alex Skolnick of Testament declared: “Before Slayer, metal had never had such razor-sharp articulation, tightness, and balance between sound and stops. This all-out sonic assault was about the shock, the screams, the drums, and … most importantly the riffs.”
