American Recordings - 1994
7.5/10
Everybody talks of how bad the veterans of '80s heavy metal tanked in the '90s, but if there's something I can say to contrast that, it's that I love the different directions many of the bands took, for better or for worse. Slayer is one where I have mixed feelings. Four years following their smash classic Seasons In The Abyss, they would swing in with Divine Intervention, a record that I have a love/hate relationship with. It's a game of appreciating the new ideas brought to the table while overlooking the awkwardness (and some... cringe lyrics at times).
For starters, rather than taking influence from the rising grunge and '90s rock movements like Slayer's "Big Four" counterparts , they moved towards a punkier edge. Yet, there isn't a full divorce from the cleaner thrash that Tom Araya and co. would use to lift their previous South Of Heaven and Seasons In The Abyss albums to the big leagues either. For the most part, the songs that utilize this punk momentum into a way that feels natural tend to do well, while the ones that feel unsure lack confidence or depth. Few songs here are outright bad, though.
Focusing on where the band nails it, the swift punch "Sex. Murder. Art." feels like the band literally hinted that they were about to release an album of punk covers soon. In less than two minutes, Slayer all but creates the classic Minor Threat-esque two-part kicker that doesn't feel forced with a thrash metal punch. Moreover, you have the relentless anarchy that is "Dittohead," backed by pummeling and concise drum kicks and slick breaks in the tempo. However, you'll need to look past the awful lyrics; like, really guys? The country with the highest prison population in the world needs to... imprison more people?
Others fall somewhere in the middle and can be hit or miss. Opener "Killing Fields" starts us off promising under a ballsy drum opener with Paul Bostaph being new to the group, and a solid gradual momentum buildup to a fun chorus. To the opposite end, the title track hits a bit of a doom outlet that feels fierce due to the production and Tom's horror-drenched, panicky outcries. Unfortunately, the back half of the album wanes down little by little, as "Serenity In Murder" absolutely butchers this similar idea, and the likes of "Circle of Beliefs" feels really clunky in execution despite an admittedly cool chorus. I guess I can also dig the thick energy of "213," but by this point things feel somewhat played-out and I'm ready for things to wrap up. This would have honestly made an incredible opener.
At the end of the day, Divine Intervention is a pinnacle example of a transition album, one that I often appreciate for its neat ideas despite some obvious flaws. I find myself returning to it from time to time, for nothing else than a small level of charm it contains. It's certainly not up to par with the classic run, but unfortunately they also wouldn't make anything any better ever again save for World Painted Blood almost two decades later.
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