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= = = Unity of the divine in traditional religion = = =
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Scholars have long debated whether traditional Egyptian religion ever asserted that the multiple gods were , on a deeper level , unified . Reasons for this debate include the practice of syncretism , which might suggest that all the separate gods could ultimately merge into one , and the tendency of Egyptian texts to credit a particular god with power that surpasses all other deities . Another point of contention is the appearance of the word " god " in wisdom literature , where the term does not refer to a specific deity or group of deities . In the early 20th century , for instance , E. A. Wallis Budge believed that Egyptian commoners were polytheistic , but knowledge of the true monotheistic nature of the religion was reserved for the elite , who wrote the wisdom literature . His contemporary James Henry Breasted thought Egyptian religion was instead pantheistic , with the power of the sun god present in all other gods , while Hermann Junker argued that Egyptian civilization had been originally monotheistic and became polytheistic in the course of its history .
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In 1971 , Erik Hornung published a study rebutting these views . He points out that in any given period many deities , even minor ones , were described as superior to all others . He also argues that the unspecified " god " in the wisdom texts is a generic term for whichever deity the reader chooses to revere . Although the combinations , manifestations , and iconographies of each god were constantly shifting , they were always restricted to a finite number of forms , never becoming fully interchangeable in a monotheistic or pantheistic way . Henotheism , Hornung says , describes Egyptian religion better than other labels . An Egyptian could worship any deity at a particular time and credit it with supreme power in that moment , without denying the other gods or merging them all with the god that he or she focused on . Hornung concludes that the gods were fully unified only in myth , at the time before creation , after which the multitude of gods emerged from a uniform nonexistence .
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Hornung 's arguments have greatly influenced other scholars of Egyptian religion , but some still believe that at times the gods were more unified than he allows . Jan Assmann maintains that the notion of a single deity developed slowly through the New Kingdom , beginning with a focus on Amun @-@ Ra as the all @-@ important sun god . In his view , Atenism was an extreme outgrowth of this trend . It equated the single deity with the sun and dismissed all other gods . Then , in the backlash against Atenism , priestly theologians described the universal god in a different way , one that coexisted with traditional polytheism . The one god was believed to transcend the world and all the other deities , while at the same time , the multiple gods were aspects of the one . According to Assmann , this one god was especially equated with Amun , the dominant god in the late New Kingdom , whereas for the rest of Egyptian history the universal deity could be identified with many other gods . James P. Allen says that coexisting notions of one god and many gods would fit well with the " multiplicity of approaches " in Egyptian thought , as well as with the henotheistic practice of ordinary worshippers . He says that the Egyptians may have recognized the unity of the divine by " identifying their uniform notion of ' god ' with a particular god , depending on the particular situation . "
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= = Descriptions and depictions = =
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Egyptian writings describe the gods ' bodies in detail . They are made of precious materials ; their flesh is gold , their bones are silver , and their hair is lapis lazuli . They give off a scent that the Egyptians likened to the incense used in rituals . Some texts give precise descriptions of particular deities , including their height and eye color . Yet these characteristics are not fixed ; in myths , gods change their appearances to suit their own purposes . Egyptian texts often refer to deities ' true , underlying forms as " mysterious " . The Egyptians ' visual representations of their gods are therefore not literal . They symbolize specific aspects of each deity 's character , functioning much like the ideograms in hieroglyphic writing . For this reason , the funerary god Anubis is commonly shown in Egyptian art as a dog or jackal , a creature whose scavenging habits threaten the preservation of buried mummies , in an effort to counter this threat and employ it for protection . His black coloring alludes to the color of mummified flesh and to the fertile black soil that Egyptians saw as a symbol of resurrection .
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Most gods were depicted in several ways . Hathor could be a cow , cobra , lioness , or a woman with bovine horns or ears . By depicting a given god in different ways , the Egyptians expressed different aspects of its essential nature . The gods are depicted in a finite number of these symbolic forms , so that deities can often be distinguished from one another by their iconographies . These forms include men and women ( anthropomorphism ) , animals ( zoomorphism ) , and , more rarely , inanimate objects . Combinations of forms , such as gods with human bodies and animal heads , are common . New forms and increasingly complex combinations arose in the course of history . Some gods can only be distinguished from others if they are labeled in writing , as with Isis and Hathor . Because of the close connection between these goddesses , they could both wear the cow @-@ horn headdress that was originally Hathor 's alone .
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Certain features of divine images are more useful than others in determining a god 's identity . The head of a given divine image is particularly significant . In a hybrid image , the head represents the original form of the being depicted , so that , as the Egyptologist Henry Fischer put it , " a lion @-@ headed goddess is a lion @-@ goddess in human form , while a royal sphinx , conversely , is a man who has assumed the form of a lion . " Divine headdresses , which range from the same types of crowns used by human kings to large hieroglyphs worn on gods ' heads , are another important indicator . In contrast , the objects held in gods ' hands tend to be generic . Male deities hold was staffs , goddesses hold stalks of papyrus , and both sexes carry ankh signs , representing the Egyptian word for " life " , to symbolize their life @-@ giving power .
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The forms in which the gods are shown , although diverse , are limited in many ways . Many creatures that are widespread in Egypt were never used in divine iconography , whereas a few , such as falcons , cobras , and cattle , can each represent many deities . Animals that were absent from Egypt in the early stages of its history were not used as divine images . For instance , the horse , which was only introduced in the Second Intermediate Period ( c . 1650 – 1550 BC ) , never represented a god . Similarly , the clothes worn by anthropomorphic deities in all periods changed little from the styles used in the Old Kingdom : a kilt , false beard , and often a shirt for male gods and a long , tight @-@ fitting dress for goddesses .
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The basic anthropomorphic form varies . Child gods are depicted nude , as are some adult gods when their procreative powers are emphasized . Certain male deities are given heavy bellies and breasts , signifying either androgyny or prosperity and abundance . Whereas most male gods have red skin and most goddesses are yellow — the same colors used to depict Egyptian men and women — some are given unusual , symbolic skin colors . Thus the blue skin and paunchy figure of the god Hapi alludes to the Nile flood he represents and the nourishing fertility it brought . A few deities , such as Osiris , Ptah , and Min , have a " mummiform " appearance , with their limbs tightly swathed in cloth . Although these gods resemble mummies , the earliest examples predate the cloth @-@ wrapped style of mummification , and this form may instead hark back to the earliest , limbless depictions of deities .
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[]
[]
= = Interactions with humans = =
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[]
[]
[]
[]
= = = Relationship with the pharaoh = = =
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[]
[]
In official writings , pharaohs are said to be divine , and they are constantly depicted in the company of the deities of the pantheon . Each pharaoh and his predecessors were considered the successors of the gods who had ruled Egypt in mythic prehistory . Living kings were equated with Horus and called the " son " of many deities , particularly Osiris and Ra ; deceased kings were equated with these elder gods . Pharaohs had their own mortuary temples where rituals were performed for them during their lives and after their deaths . But few pharaohs were worshipped as gods long after their lifetimes , and non @-@ official texts portray kings in a human light . For these reasons , scholars disagree about how genuinely most Egyptians believed the king to be a god . He may only have been considered divine when he was performing ceremonies .
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However much it was believed , the king 's divine status was the rationale for his role as Egypt 's representative to the gods , as he formed a link between the divine and human realms . The Egyptians believed the gods needed temples to dwell in , as well as the periodic performance of rituals and presentation of offerings to nourish them . These things were provided by the cults that the king oversaw , with their priests and laborers . Yet , according to royal ideology , temple @-@ building was exclusively the pharaoh 's work , as were the rituals that priests usually performed in his stead . These acts were a part of the king 's fundamental role : maintaining maat . The king and the nation he represented provided the gods with maat so they could continue to perform their functions , which maintained maat in the cosmos so humans could continue to live .
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[]
[]
= = = Presence in the human world = = =
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Although the Egyptians believed their gods to be present in the world around them , contact between the human and divine realms was mostly limited to specific circumstances . In literature , gods may appear to humans in a physical form , but in real life the Egyptians were limited to more indirect means of communication .
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The ba of a god was said to periodically leave the divine realm to dwell in the images of that god . By inhabiting these images , the gods left their concealed state and took on a physical form . To the Egyptians , a place or object that was ḏsr — " sacred " — was isolated and ritually pure , and thus fit for a god to inhabit . Temple statues and reliefs , as well as particular sacred animals , like the Apis bull , served as divine intermediaries in this way . Dreams and trances provided a very different venue for interaction . In these states , it was believed , people could come close to the gods and sometimes receive messages from them . Finally , according to Egyptian afterlife beliefs , human souls pass into the divine realm after death . The Egyptians therefore believed that in death they would exist on the same level as the gods and fully understand their mysterious nature .
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Temples , where the state rituals were carried out , were filled with images of the gods . The most important temple image was the cult statue in the inner sanctuary . These statues were usually less than life @-@ size , and made of the same precious materials that were said to form the gods ' bodies . Many temples had several sanctuaries , each with a cult statue representing one of the gods in a group such as a family triad . The city 's primary god was envisioned as its lord , employing many of the residents as servants in the divine household that the temple represented . The gods residing in the temples of Egypt collectively represented the entire pantheon . But many deities — including some important gods as well as those that were minor or hostile — were never given temples of their own , although some were represented in the temples of other gods .
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To insulate the sacred power in the sanctuary from the impurities of the outside world , the Egyptians enclosed temple sanctuaries and greatly restricted access to them . People other than kings and high priests were thus denied contact with cult statues . The only exception was during festival processions , when the statue was carried out of the temple but still enclosed in a portable shrine . People did have less direct means of interaction . The more public parts of temples often incorporated small places for prayer , from doorways to freestanding chapels near the back of the temple building . Communities also built and managed small chapels for their own use , and some families had shrines inside their homes . Despite the gulf that separated humanity from the divine , the Egyptians were surrounded by opportunities to approach their gods .
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[]
[]
= = = Intervention in human lives = = =
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Egyptian gods were involved in human lives as well as in the overarching order of nature . This divine influence applied mainly to Egypt , as foreign peoples were traditionally believed to be outside the divine order . But in the New Kingdom , when other nations were under Egyptian control , foreigners were said to be under the sun god 's benign rule in the same way that Egyptians were .
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Thoth , as the overseer of time , was said to allot fixed lifespans to both humans and gods . Other gods were also said to govern the length of human lives , including Meskhenet , who presided over birth , and Shai , the personification of fate . Thus the time and manner of death was the main meaning of the Egyptian concept of fate , although to some extent these deities governed other events in life as well . Several texts refer to gods influencing or inspiring human decisions , working through a person 's " heart " — the seat of emotion and intellect in Egyptian belief . Deities were also believed to give commands , instructing the king in the governance of his realm and regulating the management of their temples . Egyptian texts rarely mention direct commands given to private persons , and these commands never evolved into a set of divinely enforced moral codes . Morality in ancient Egypt was based on the concept of maat , which , when applied to human society , meant that everyone should live in an orderly way that did not interfere with the well @-@ being of other people . Because deities were the upholders of maat , morality was connected with them . For example , the gods judged humans ' moral righteousness after death , and by the New Kingdom , a verdict of innocence in this judgment was believed to be necessary for admittance into the afterlife . But in general , morality was based on practical ways to uphold maat in daily life , rather than on strict rules that the gods laid out .
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Humans had free will to ignore divine guidance and the behavior required by maat , but by doing so they could bring divine punishment upon themselves . A deity carried out this punishment using its ba , the force that manifested the god 's power in the human world . Natural disasters and human ailments were seen as the work of angry divine bas . Conversely , the gods could cure righteous people of illness or even extend their lifespans . Both these types of intervention were eventually represented by deities : Shed , who emerged in the New Kingdom to represent divine rescue from harm , and Petbe , an apotropaic god from the late eras of Egyptian history who was believed to avenge wrongdoing .
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Egyptian texts take different views on whether the gods are responsible when humans suffer unjustly . Misfortune was often seen as a product of isfet , the cosmic disorder that was the opposite of maat , and therefore the gods were not guilty of causing evil events . Some deities who were closely connected with isfet , such as Set , could be blamed for disorder within the world without placing guilt on the other gods . But some writings do accuse the deities of causing human misery , while others give theodicies in the gods ' defense . Beginning in the Middle Kingdom , several texts connected the issue of evil in the world with a myth in which the creator god fights a human rebellion against his rule and then withdraws from the earth . Because of this human misbehavior , the creator is distant from his creation , allowing suffering to exist . New Kingdom writings do not question the just nature of the gods as strongly as those of the Middle Kingdom . They emphasize humans ' direct , personal relationships with deities and the gods ' power to intervene in human events . People in this era put faith in specific gods who they hoped would help and protect them through their lives . As a result , upholding the ideals of maat grew less important than gaining the gods ' favor as a way to guarantee a good life . Even the pharaohs were regarded as dependent on divine aid , and after the New Kingdom came to an end , government was increasingly influenced by oracles communicating the gods ' will .
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[]
[]
= = = Worship = = =
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[]
Official religious practices , which maintained maat for the benefit of all Egypt , were related to , but distinct from , the religious practices of ordinary people , who sought the gods ' help for their personal problems .
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Official religion involved a variety of rituals , based in temples . Some rites were performed every day , whereas others were festivals , taking place at longer intervals and often limited to a particular temple or deity . The gods received their offerings in daily ceremonies , in which their statues were clothed , anointed , and presented with food as hymns were recited in their honor . These offerings , in addition to maintaining maat for the gods , celebrated deities ' life @-@ giving generosity and encouraged them to remain benevolent rather than vengeful .
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Festivals often involved a ceremonial procession in which a cult image was carried out of the temple in a barque @-@ shaped shrine . These processions served various purposes . In Roman times , when local deities of all kinds were believed to have power over the Nile inundation , processions in many communities carried temple images to the riverbanks so the gods could invoke a large and fruitful flood . Processions also traveled between temples , as when the image of Hathor from Dendera Temple visited her consort Horus at the Temple of Edfu . Rituals for a god were often based in that deity 's mythology . Such rituals were meant to be repetitions of the events of the mythic past , renewing the beneficial effects of the original events . In the Khoiak festival in honor of Osiris , his death and resurrection were ritually reenacted at a time when crops were beginning to sprout . The returning greenery symbolized the renewal of the god 's own life .
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Personal interaction with the gods took many forms . People who wanted information or advice consulted oracles , run by temples , that were supposed to convey gods ' answers to questions . Amulets and other images of protective deities were used to ward off the demons that might threaten human well @-@ being or to impart the god 's positive characteristics to the wearer . Private rituals invoked the gods ' power to accomplish personal goals , from healing sickness to cursing enemies . These practices used heka , the same force of magic that the gods used , which the creator was said to have given to humans so they could fend off misfortune . The performer of a private rite often took on the role of a god in a myth , or even threatened a deity , to involve the gods in accomplishing the goal . Such rituals coexisted with private offerings and prayers , and all three were accepted means of obtaining divine help .
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Prayer and private offerings are generally called " personal piety " : acts that reflect a close relationship between an individual and a god . Evidence of personal piety is scant before the New Kingdom . Votive offerings and personal names , many of which are theophoric , suggest that commoners felt some connection between themselves and their gods . But firm evidence of devotion to deities became visible only in the New Kingdom , reaching a peak late in that era . Scholars disagree about the meaning of this change — whether direct interaction with the gods was a new development or an outgrowth of older traditions . Egyptians now expressed their devotion through a new variety of activities in and around temples . They recorded their prayers and their thanks for divine help on stelae . They gave offerings of figurines that represented the gods they were praying to , or that symbolized the result they desired ; thus a relief image of Hathor and a statuette of a woman could both represent a prayer for fertility . Occasionally , a person took a particular god as a patron , dedicating his or her property or labor to the god 's cult . These practices continued into the latest periods of Egyptian history . These later eras saw more religious innovations , including the practice of giving animal mummies as offerings to deities depicted in animal form , such as the cat mummies given to the feline goddess Bastet . Some of the major deities from myth and official religion were rarely invoked in popular worship , but many of the great state gods were important in popular tradition .
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The worship of some Egyptian gods spread to neighboring lands , especially to Canaan and Nubia during the New Kingdom , when those regions were under pharaonic control . In Canaan , the exported deities , including Hathor , Amun , and Set , were often syncretized with native gods , who in turn spread to Egypt . The Egyptian deities may not have had permanent temples in Canaan , and their importance there waned after Egypt lost control of the region . In contrast , many temples to the major Egyptian gods and deified pharaohs were built in Nubia . After the end of Egyptian rule there , the imported gods , particularly Amun and Isis , were syncretized with local deities and remained part of the religion of Nubia 's independent Kingdom of Kush . These gods were incorporated into the Nubian ideology of kingship much as they were in Egypt , so that Amun was considered the divine father of the king and Isis and other goddesses were linked with the Nubian queen , the kandake . Some deities reached farther . Taweret became a goddess in Minoan Crete , and Amun 's oracle at Siwa Oasis was known to and consulted by people across the Mediterranean region .
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Under the Greek Ptolemaic Dynasty and then Roman rule , Greeks and Romans introduced their own deities to Egypt . These newcomers equated the Egyptian gods with their own , as part of the Greco @-@ Roman tradition of interpretatio graeca . But the worship of the native gods was not swallowed up by that of foreign ones . Instead , Greek and Roman gods were adopted as manifestations of Egyptian ones . Egyptian cults sometimes incorporated Greek language , philosophy , iconography , and even temple architecture . Meanwhile , the cults of several Egyptian deities — particularly Isis , Osiris , Anubis , the form of Horus named Harpocrates , and the fused Greco @-@ Egyptian god Serapis — were adopted into Roman religion and spread across the Roman Empire . Roman emperors , like Ptolemaic kings before them , invoked Isis and Serapis to endorse their authority , inside and outside Egypt . In the empire 's complex mix of religious traditions , Thoth was transmuted into the legendary esoteric teacher Hermes Trismegistus , and Isis , who was venerated from Britain to Mesopotamia , became the focus of a Greek @-@ style mystery cult . Isis and Hermes Trismegistus were both prominent in the Western esoteric tradition that grew from the Roman religious world .
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Temples and cults in Egypt itself declined as the Roman economy deteriorated in the third century AD , and beginning in the fourth century , Christians suppressed the veneration of Egyptian deities . The last formal cults , at Philae , died out in the fifth or sixth century . Most beliefs surrounding the gods themselves disappeared within a few hundred years , remaining in magical texts into the seventh and eighth centuries . But many of the practices involved in their worship , such as processions and oracles , were adapted to fit Christian ideology and persisted as part of the Coptic Church . Given the great changes and diverse influences in Egyptian culture since that time , scholars disagree about whether any modern Coptic practices are descended from those of pharaonic religion . But many festivals and other traditions of modern Egyptians , both Christian and Muslim , resemble the worship of their ancestors ' gods .
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= South of Heaven =
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South of Heaven is the fourth studio album by American thrash metal band Slayer . Released on July 5 , 1988 , the album was the band 's second collaboration with record producer Rick Rubin , whose production skills on Slayer 's previous album Reign in Blood had helped the band 's sound evolve .
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South of Heaven was Slayer 's second album to enter the Billboard 200 , and its last to be released by Def Jam Recordings , although the album became an American Recordings album after Rick Rubin ended his partnership with Russell Simmons . It was one of only two Def Jam titles to be distributed by Geffen Records through Warner Bros. Records because of original distributor Columbia Records ' refusal to release work by the band . The release peaked at number 57 and in 1992 was awarded a gold certification by the Recording Industry Association of America .
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In order to offset the pace of the group 's previous album , Slayer deliberately slowed down the album 's tempo . In contrast to their previous albums , the band utilized undistorted guitars and toned @-@ down vocals . While some critics praised this musical change , others — more accustomed to the style of earlier releases — were disappointed . The songs " Mandatory Suicide " and the title track , however , have become permanent features of the band 's live setlist .
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= = Background = =
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South of Heaven was recorded in Los Angeles , California with Reign in Blood producer Rick Rubin . PopMatters reviewer Adrien Begrand observed that Rubin 's production " shoves [ Dave ] Lombardo 's drumming right up front in the mix . " Guitarist Jeff Hanneman has since said that South of Heaven was the only album the band members discussed before writing the music . Aware that they " couldn 't top Reign in Blood " , and that whatever they recorded would be " compared to that album " , he believed they " had to slow down " , something Slayer had never done on albums before , or since . Guitarist Kerry King cited the need to " keep people guessing " as another reason for the musical shift . " In order to contrast the aggressive assault put forth on Reign in Blood , Slayer consciously slowed down the tempo of the album as a whole " , according to Slayer 's official biography . " They also added elements like undistorted guitars and toned @-@ down vocal styles not heard on previous albums . "
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King has since been critical of his performance , which he describes as his " most lackluster . " King attributes this to the fact he had recently married , and moved to Phoenix , Arizona . Describing himself as " probably the odd man out at that point " , he admitted he " didn ’ t participate as much because of that . " Hanneman said : " We go through dry spells sometimes , but the good thing about having two guitar players that can write music is that you are never gonna go without . I guess at that time , Kerry was hitting a dry spell . " King has also been critical of the album in general , describing it as one of his least favorite Slayer albums . He feels vocalist Tom Araya moved too far away from his regular vocal style , and " added too much singing . " Drummer Dave Lombardo has since observed : " There was fire on all the records , but it started dimming when South of Heaven came into the picture . And that 's me personally . Again , I was probably wanting something else . "
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Judas Priest 's " Dissident Aggressor " is the only cover version to appear on a Slayer studio album . The song was chosen due to its war @-@ themed lyrics . Hanneman described the track as " more just like one of those odd songs that a lot of people didn 't know , but it was a favorite of Kerry and I , so we just picked that one . " Meanwhile , " Cleanse the Soul " has been heavily criticized by King who said that he hates the track : " That 's one of the black marks in our history , in my book . I just fucking think it 's horrible . [ Laughs ] I hate the opening riff . It 's what we call a ' happy riff . ' It 's just like ' la @-@ lala @-@ la @-@ la @-@ la . ' I can 't see myself playing it , but after that , where it gets heavier , I like that section . If we ever did a medley , I 'd put part of that in there . " The Slayer boxset Soundtrack to the Apocalypse featured , along with four songs of the album , an early version of the title track , recorded at Hanneman 's home .
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= = Photography and illustration = =
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Artist Larry Carroll and Illustrator Howard Schwartzberg designed the cover artwork for South of Heaven , having designed the artwork for Slayer 's previous album Reign in Blood . Photographer Glen E. Friedman took the promotional shot which surfaced as the back cover of South of Heaven around the time of 1986 's Reign in Blood . Lombardo felt it made Slayer seem as though they " had matured a little bit " , while Friedman himself deemed it " a really cool back cover " and " one of the most classic shots of them [ Slayer ] ever . "
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= = Critical reception = =
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South of Heaven was released on July 5 , 1988 , and was the final Slayer album distributed via Def Jam Records . When label co @-@ founders Russell Simmons and Rubin parted ways , Slayer signed to Rubin 's newly founded Def American Recordings label . The album peaked at number 57 on the Billboard 200 album chart , and on November 20 , 1992 , became Slayer 's second album to be certified gold in the United States . South of Heaven was awarded silver certification in the United Kingdom on January 1 , 1993 , Slayer 's first record to do so in that country . Slayer 's official biography states that " some critics praised the album as demonstrating Slayer 's desire to grow musically and avoid repeating themselves . " Alex Henderson of AllMusic described the record as " disturbing and powerful , " while Joe Matera of Ultimate Guitar deemed the album a slight departure ; he wrote that while the pace was slowed down , it " didn 't sacrifice any of the heaviness inherent in Slayer 's music . "
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Reviewing the 2003 Slayer box set Soundtrack to the Apocalypse , Adrien Begrand of PopMatters described the album as " their most underrated , and on this set , its five selections show how highly the band thinks of the record . " KNAC.com 's Peter Atkinson was also positive , saying the album has a " grandiosity and imposing presence " which makes the record " so magnificent . " Grave 's Ola Lindgren and Bolt Thrower 's Karl Willetts both rate South of Heaven as amongst the top five albums of all time , while Max Kolesne of Brazilian death metal group Krisiun remembers hearing the song " Silent Scream " for the first time : " It just blew me away . It was like fast double @-@ bass , fast kicks during the whole song . That was very inspiring for me . " When discussing Slayer in an October 2007 interview , Evile frontman Matt Drake stated that while Reign in Blood " was just speed " , South of Heaven proved that the group could write " slow material as well . " Metal Forces reviewer gives " the band credit for at least making an effort to try something new and not being afraid to experiment at such a crucial stage of their career " , creating " one of the more original sounding thrash / speed metal albums he heard in a long while " . He remarks , however , that " if you ’ re expecting to hear Reign in Blood Part Two , you ’ ll be in for a major disappointment " .
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Kim Neely of Rolling Stone dismissed the album as " genuinely offensive satanic drivel . " Slayer 's official biography states : " The new sounds disappointed some of the band 's fans who were more accustomed to the style of earlier releases . " Michael Roberts of Westworld Online said this was due to some of the numbers moving " at the sludgier speed of Black Sabbath . " Araya commented that the " album was a late bloomer — it wasn 't really received well , but it kind of grew on everybody later . "
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[]
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= = Cover versions = =
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The title track and the song " Mandatory Suicide " have received various cover interpretations , particularly on Slayer tribute albums . Toni Ferguson recorded string quartet adaptations of both tracks on the album The String Quartet Tribute to Slayer : The Evil You Dread , with the former cover being described as having " menacing chord shifts " by AllMusic 's Johnny Loftus .
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1995 Slayer tribute album Slatanic Slaughter featured three tracks which originally appeared on South of Heaven , with the title track , " Mandatory Suicide " and " Spill the Blood " interpreted by Cemetary , Crown of Thorns and Grope respectively . Its 1998 follow up Slatanic Slaughter , Vol . 2 only featured two tracks originally from the album ; namely " Silent Scream " arranged by Vader and " Read Between the Lies " interpreted by Anathema . 1999 's Straight to Hell : A Tribute to Slayer collected four Slayer renditions which originated on the album , with versions of South of Heaven performed by Abaddon ( Venom ) and Electric Hellfire Club , " Mandatory Suicide " cut by Chapter 7 and " Behind the Crooked Cross " adapted by Gigantor . 2006 Argentine tribute album Al Sur Del Abismo ( Tributo Argentino A Slayer ) saw Nafak and Climatic Terra also respectively cover " South of Heaven " and " Mandatory Suicide " . Hatebreed covered the song " Ghosts of War " for their 2009 cover album For the Lions . They released a music video for it also . Korn has covered the title track at least twice live , once with Kid Rock on vocals and another using the intro to follow into one of their songs live .
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The title track itself has also been covered by Integrity 2000 , Modest Mouse and Califone , Pro @-@ Pain , and Universe Eye . Polish death metal band Decapitated covered the song " Mandatory Suicide " on their first full @-@ length album Winds of Creation . In 2003 , " Silent Scream " was covered by Children of Bodom for their album Hate Crew Deathroll in his UK version . Hardcore Punk band , The Mongoloids opened their set with the beginning of " South of Heaven " at Heartfest 7 on May 4 , 2013
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[]
[]
= = Live performances = =
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[]
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Two songs taken from the album ( " Mandatory Suicide " and " South of Heaven " ) have become near constant fixtures in the band 's live setlist , notching up appearances on the following : the live DVDs Live Intrusion , War at the Warfield , Still Reigning , Soundtrack to the Apocalypse 's deluxe edition 's bonus live disc , and the live double album Decade of Aggression . Lombardo guested with Finnish cellist group Apocalyptica on a live medley of the two tracks at 1998 's Headbanger 's Heaven festival in the Netherlands . Adrien Begrand of PopMatters described " South of Heaven " as " an unorthodox set opener in theory " , noting " the song went over like a megaton bomb detonating the place : dozens of inverted crosses projected behind the high drum riser , the sinewy opening notes kicked in , followed by an overture of bass , cymbal crashes , and tom fills , leading up to the slowly building crescendo " in a concert review . Lombardo remembers listening to a live rendition of " South of Heaven " and thinking " ‘ Man ! There 's just so much groove in that song . ’ To my kids I was saying , ‘ Listen to that ! Listen to how groovy that is ! ’ And it 's heavy . " A rare live version of the track featured on the JÄGERMUSIC Rarities 2004 promotional CD , given away to attendees at the Spring 2004 Jägermeister Music Tour . A live rendition of " South of Heaven " was also included on a bonus DVD which came with the group 's 2007 re @-@ release of ninth studio album Christ Illusion , shot in Vancouver , British Columbia during 2006 's Unholy Alliance tour .
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" Behind the Crooked Cross " is rarely played live as Hanneman hates the track , though King has always wanted to play it " because it 's got a cool intro " despite it not being his favorite song . King said " that 's fine " when speaking of the situation , noting " there are songs that he wants to play that I always shoot down . " " Ghosts of War " isn 't King 's favorite song either , which he attests " everybody always wants to hear " performed live . He confessed ; " I like the ending , you know , I like the big heavy part and I always say , ‘ Let 's put the heavy ending at the end of " Chemical Warfare " and just do the last half . ’ But I could never make that fly . "
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Slayer has toyed with the idea of creating a live set mixed with selections from the album and 1990 's Seasons in the Abyss , though Hanneman said it 's something which hasn 't been " seriously considered . " Metal Maniacs asked Slayer in a 2006 interview whether they would consider playing South of Heaven in the footsteps of the Still Reigning tour , to which Araya replied , " It 's becoming a trendy thing now . I don 't know . We have some really cool albums , but I don 't think we 'll ever do that again . " King was equally unsure , commenting , " Probably not . And I just don 't like enough songs off South of Heaven . "
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[]
[]
= = Track listing = =
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[]
[]
[]
[]
= = Personnel = =
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[]
[]
[]
[]
= = = Slayer = = =
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[]
[]
Tom Araya – bass , lead vocals
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Jeff Hanneman – lead and rhythm guitar
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Kerry King – lead and rhythm guitar , backing vocals
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Dave Lombardo – drums
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[]
[]
= = Charts and certifications = =
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[]
[]
[]
[]
[]
[]
= General aviation in the United Kingdom =
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