here is a way in which Slayer has become mythologized. In our strictly binary, conservative-versus-liberal culture, the dark denizens of thrash-metal are equally demonized and valorized for their allegiance to blood and gore. In fact, the group’s scarier-than-thou persona nearly overshadows its technically adept instrumentation.

The band’s fame has led to the headlining position on the Jagermeister Tour, which comes to Saltair on Monday.

	The members of Slayer attempt to pull off the Bono look, albeit in a more intimidating, hell-raising, thrashing manner.

Slayer’s lead guitarist Kerry King credits the band’s controversial image as a great segue into fame.

“People talk and people are going to talk,” King says. “If they didn’t, we probably would never have gotten famous in the first place because in the beginning it was all sort of word of mouth.”

Satanic symbolism aside, Slayer is committed to musical purity. When the group first formed, its members wanted to reclaim metal from the tight grip of an aerosol can.

“We helped originate what we do today. Back then the biggest thing was hair bands out of L.A.—Ratt, Poison…we just wanted to be everything they weren’t.”

Twenty years later, Slayer is still playing by its own rules. The band has managed to obtain an impressive fanbase without Rolling Stone or MTV. Consistency and a complete disregard for public opinion have given Slayer a rare longevity.

King is decidedly focused on his work, opting to virtually ignore most of his supposed peers. “I don’t like anybody,” he says in regard to the latest in contemporary metal. He does admit respect for a few thrash groups currently emerging from fetus form. “Thrash to me is cool. There are some bands coming up that seem to be picking up from where we are still playing,” he says. King also praises fellow Jagermeister tourmates Arch Enemy and Hatebreed, the latter of which joined Slayer on 2000’s Tattoo the Earth tour.

It’s difficult for King to judge the quality of certain acts, especially when the unknowns are grouped into highly subjective genres. Since the 1983 release of Slayer’s debut Show No Mercy, metal has shattered into several separate factions. The distinction between each category is seemingly slight, however, for devotees for whom boundaries are wholly significant. Thrash, hardcore, death-metal…the difference is in the details—from the rate of speed to the level of devotion to a particular lifestyle. For Slayer fans, that means sticking to tradition. King assures that there’s little chance for any radical experimentation.

“We pretty much have the same sound. Once you find how you want to sound, you just leave it there,” he says. “I think ideally it’s the songwriting that evolves.”

The Soundtrack to the Apocalypse is the band’s first complete retrospective. The boxed set comes in two forms, although those who can afford it are wise to pick up the highly toted “ammo box,” a deluxe four-CD collection featuring a bonus DVD of Slayer’s 2002 God Hates Us All tour stop in Anaheim, Calif.

Slayer’s live show is a huge selling point for fans. Longtime followers pledge allegiance to the rage, channeling their passion into combative “dance.” Seasoned concert-goers are well aware that the most dangerous element of these performances lies in an unfamiliarity with the situation. King’s advice for the uninitiated is fairly blunt—no matter how anxious they may be, newcomers should exercise caution.

“[They should] watch it from afar until they figure out what’s going on,” he says. “You don’t want to be in the front, you don’t want to be in the middle.”

King estimates the band’s total Salt Lake City performances at somewhere around 10. “As far as I can remember, it was always a pretty crazy crowd,” he says. “I think when the tours come through, the kids are all amped up for it.” Due to its below-radar record industry status, Utah is often overlooked by big touring acts. Given the gaps between concerts, diehard fans necessarily have sufficient time to prepare for the rare occasion when their idols finally return to town.

All of these rabid fans are not worshiping at the feet of an anti-christ. The music might evoke violence, but Slayer is more obsessed with tearing up the stage than wreaking havoc on innocents. If there’s anything Slayer wants to destroy, it’s weak imitations of metal.

After Jagermeister, Slayer plans on heading to the studio to record new material for an album tentatively slated for April 2004. After that, Slayer’s members might have time to pursue careers that would offer opportunities to really shock the system.

Should he ever hold political office in Utah, King resolves to implement some crucial changes: “The bars would definitely have to stay open later.” Slayer really should reign more than just blood.

The Jagermeister Music Tour Featuring Slayer, with Hatebreed and Arch Enemy, hits Saltair (I West Exit 104) on Monday, Nov. 17. General admission tickets are $28, $32 the day of the show. For more information, visit www.smithstix.com.
jamie@red-mag.com