Diabolus in Musica
| Diabolus in Musica | ||||
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| Studio album by Slayer | ||||
| Released | June 9, 1998 | |||
| Recorded | 1997–1998 | |||
| Studio | Oceanway Studio, Hollywood Sound, Los Angeles, California | |||
| Genre | Nu metal, thrash metal | |||
| Length | 40:15 | |||
| Label | American | |||
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| Slayer chronology | ||||
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| Singles from Diabolus in Musica | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   |
| Entertainment Weekly | C+ |
| Metal Forces | 4/10 |
| Q | |
| The Rolling Stone Album Guide | |
| Rock Hard | 8.5/10 |
Diabolus in Musica is the eighth studio album by American thrash metal band Slayer. Released on June 9, 1998, it is the third studio album to feature drummer Paul Bostaph. Although receiving mixed critical reviews, the album sold 46,000 copies in its first week to peak at number 31 on the Billboard 200. Guitarist Jeff Hanneman wrote most of the album's content which has been described as Slayer's most experimental album. It is the band's first studio album to be played mostly in C♯ tuning. The album's title is a Latin term for "The Devil in Music", a musical interval known for its dissonance. Lyrical themes explored on the album include religion, cultural deviance, death, insanity, war, and homicide.
Slayer guitarist Jeff Hanneman described the writing process as, "When we were writing this album I was looking for something to beat; I wanted something to beat, but nothing impresses me right now. Nothing sounded really aggressive or heavy enough to inspire me to beat it, so I just had to come up with my own shit." The album was produced by Rick Rubin and was recorded at Oceanway Studios.
Adrien Begrand of PopMatters felt Slayer introduced characteristics to its music including tuned down guitars, murky chord structures, and churning beats. He believed these characteristics were adopted in response to the then-burgeoning nu metal scene. Drummer Paul Bostaph claims the album is his favorite as he thought the album was "as experimental as Slayer got". This included incorporating groove metal elements and strange vocal effects as said by an interview for High Times. Bostaph returned to Slayer after his short-lived side project The Truth About Seafood, and the band entered the recording studio four months later.
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