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Seasons in the Abyss

Seasons in the Abyss
Slayer - Seasons in the Abyss.jpg
Studio album by Slayer
Released October 9, 1990 (1990-10-09)
Recorded March–June 1990
Studio Hit City West, Hollywood Sound, and Record Plant, Los Angeles, California
Genre Thrash metal
Length 42:27
Label Def American
Producer Rick Rubin, Andy Wallace, Slayer
Slayer chronology
South of Heaven
(1988)
Seasons in the Abyss
(1990)
Divine Intervention
(1994)
Professional ratings
Review scores
Source Rating
AllMusic 4.5/5 stars
Entertainment Weekly B+
Rock Hard 10/10
The Rolling Stone Album Guide 3.5/5 stars
Sputnikmusic 4.0/5

Seasons in the Abyss is the fifth studio album by American thrash metal band Slayer. It was released on October 9, 1990, through Def American Records, and later through American Recordings after the record label changed its name. The album's recording sessions began in March 1990. The sessions began at Hit City West, Hollywood Sound, and in June, the sessions ended at Record Plant in Los Angeles, California. It was the band's last studio album to feature original drummer Dave Lombardo until 2006's Christ Illusion.

The musical style of the album is similar and was compared by critics to the band's previous two albums: South of Heaven and Reign in Blood. The album's reception was generally positive. It peaked number 18 in the United Kingdom and also charted on the Billboard 200 at number 40. It was certified gold in the United States and Canada.

The album was recorded from January to June 1990 in two separate studios: Hit City West, Hollywood Sound, and Record Plant in Los Angeles, California.Seasons in the Abyss was produced by Rick Rubin, who had also produced their previous two albums Reign in Blood and South of Heaven.

Track eight, "Temptation", featured an overdub of lead vocalist Tom Araya's singing; the vocal arrangement on the track was unintentional. Araya sang the song twice: once the way he felt it sounded best; the second time at the insistence of Kerry King the way he thought it should be sung. By accident both tracks were played back simultaneously on the instrumental background, and the producer suggested that both vocal tracks should be used on the album.


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