Review | Kerry King – From Hell I Rise

Reigning Phoenix Music

If one label applies to Kerry King’s debut album `From Hell I Rise’ it must be ‘BRUTAL’. The album from the pen of Slayer’s King is packed with intensity and captivates all of his career-spanning ingredients. With the help of his seasoned genre greats Kyle Saunders of Hellyeah!-fame on bass, ex-band buddy Paul Bostaph on drums and Machine Head’s Phil Demmel as his counterforce on guitars, Kerry King has concocted an all-round thrashing machine around. Completing this line up King turned to Death Angel’s Mark Osegueda for vocal duties and this enforced the uniqueness of Kerry King’s heavy thrashing band. `From Hell I Rise’ sees them rise brutally.


Their trademark blend of breakneck speed and discordant solos, coupled with a raw and raucous mix of power chords and intricate riffs, showcased their artistic versatility, with Kerry leading the charge. Kerry’s distinct style permeates `From Hell I Rise’ with Osegueda’s vocals steering away from the familiar Slayer sound, evident from the onset with the opening instrumental ,,Diablo,” driven by pounding drums and thunderous guitar riffs. As King and Demmel unite their forces, the song escalates into a crescendo of melodic chaos, laying the groundwork for the relentless riff assault on ,,Where I Reign,” a testament to King’s enduring influence on the band’s legacy.

Osegueda’s potent vocals, fueled by raw intensity, channel the chaos, amplified by Bostaph’s relentless tempo and impeccable timing, culminating in a frenzied exchange of drum and guitar prowess before the blistering solos take center stage. 


The brooding introduction of the single ,,Residue” inflicts a slower, yet equally intense assault, as Mark’s vocals pierce through the melodies and riffs with ferocity. Complemented by Bostaph’s thunderous double bass onslaught, the music maintains an unyielding torrent of riffs, hooks, and tempos, breathing the hybrid of punk, thrash and metal with high speed.

The relentless energy continues with the opening onslaught of ,,Idle Hands”, showcasing Mark’s versatility amidst a backdrop of raw power and volume, transitioning seamlessly from a crawling pace to a galloping drum barrage, underscored by his thrash-infused lyrics. The ominous yet scorching riffs return on the power metal-infused thrashy masterpiece (there, I said it!) ,,Trophies of the Tyrant,” highlighting Osegueda’s commanding performance, while the guitars drive forward relentless, and Bostaph injecting a rhythmic diversity with intense accents, breaking the monotony of the genres overall dense drum patterns. Speeding things up, the pedal goes down frequently with ,,Crucifixation” with its benchmark Slayer outburst while it also has a Death Angel ring to it, reminiscent to ,,Voracious Souls”. The wordplay marks King’s creativity while the lyrical content is simple and effective. 


,,Tension” does justice to its title, building stress into the overhaul of riffs spawning underneath Mark’s growling vocal, fluently leading into the high velocity bliss of ,,Everything I Hate about You”, with punk accolades pressing. Tempo eases as ,,Toxic” roars forth, injecting another dose of Death Angel’s signature style before seamlessly transitioning into the Slayer domain. Like a volcanic eruption, the double bass drums surge forward, propelling the song into galloping rhythms, while the relentless exchange of riffs and licks slices into the core. Your muscles tighten, gripping your spine, compelling you to bang your head in rhythmic obedience.

With each muscle tense, your neck guides your head side to side, initiating the headbanging motion that propels you into the song’s refrain. Punk invoked, ,,Two Fists” come onto you full frontal. Having thrash morphed into groove laden hardcore Mark flexes his vocals around the jumpy low groove, anger modus initiated. He certainly defines the sound of Kerry King’s debut album and steers it between the cliché obstacles of tempo shifts and repetitiveness. 

A salvo of drums atop the upheaval of distorted guitars before shooting into gear, King and his men unleash shit-heavy riff carnage with Demmel leading. The solos remarkable, Demmel pitches high over the King legacy, cleansing reminiscence of the legacy. It is colorful, yet recognizable, it is heavy as hell!


Injecting a hefty dose of Black Sabbath’s Iommi-esque doom, the band plunges into the thunderous ,,Shrapnel”. Breaking free from its sombre atmosphere with jagged riffs and spirited vocals, the song starts brimming with vitality. As it unfolds its full potential, the band erupts with Osegueda delivering raw visceral energy from the very depths of his being, epitomizing the essence of true raw ‘n’ roar.

This momentum carries into the climactic title track, encapsulating the essence of thrash with its thunderous drums and dynamic tempo shifts, blistering riffs, and relentless intensity. It unleashes a ferocious assault, like demonic claws tearing through flesh, and cooking up the wall of death frontstage before setting each mosh pit ablaze at any summer festival in Heavyland. Kerry King and his band unleash the heaviest onslaught imaginable, akin to a rampaging freight train tearing through everything in its path. It all culminates in a ravishing breakdown at the end leaving listeners utterly entranced.


Kerry King’s `From Hell I Rise’ blazes with demonic infernal intensity bold of fire and flames, embodying a metallic juggernaut that refuses to be contained. The album unleashes a torrent of heavy, high-velocity riffs delivered in thick, meaty slices, featuring the trademark gallop and archaic stride that define the genre. The musicians’ exceptional mastery of their craft is on full display, as they seamlessly interact and feed off each other’s energy, creating a magical synergy within the music. While the essence of Slayer permeates every note, it’s Osegueda’s commanding delivery that truly leaves a lasting impact, providing the perfect complement to King’s vision for the album. Mandatory for fans!

Covered in red and black artwork, the album is simple but effective, perfectly covering its contents. I eagerly look forward to the vinyl version of this release dropping, as it will pack the heavier quadrant of intensity to blast from my stereo.

Release date: 17 May 2024



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