Slayer - "Diabolus in Musica", 1998

I don't think the merits of 1994's "Divine Intervention" should even be questioned; to me, it's the best post-"Reign in Blood" era Slayer record, and I would easily place it in my top three albums by the band. "Diabolus in Musica" was a different animal, though, and it's also one of the Slayer albums that divides the fanbase the most. While a large portion of fans claim it was influenced by modern metal of the time and therefore a despicable betrayal, a smaller but significant group praises it for being as experimental as Slayer could ever get while staying true to the band's uncompromising style. I definitely belong to the second category (did you have any doubt?), but what always amused me is how many naysayers play the "nu-metal" or "mallcore" card when discussing this record, since it actually has little to nothing to do with nu-metal. It does include a variety of other influences, though, mostly from the hardcore scene but also the groove metal that characterized much of the 1990s, as well as a couple of unexpected attempts at crossover metal. Therefore, you are entitled to dislike it if you hate bands such as Biohazard, Suicidal Tendencies, and—to a lesser extent—Pantera, but the Korn influences are definitely not present here, and the Slipknot debut wasn't even out yet. For Slipknot-style elements, you should check "God Hates Us All" instead; if anything, that is actually Slayer's attempt at nu-metal. The band even foregoes all guitar solos on that album, and that's the point where they lost me. No, Lombardo returning and the band's subsequent thrash metal revival in the 2000s never resonated with me. I think "Diabolus in Musica" is the last solid, ambitious record the band released, and they could have disbanded after that as far as I'm concerned.

Yes, the band tuned down a bit for this album—a whole step, to be precise—but that is hardly a nu-metal tuning, as those bands generally tuned to B. It's simply a slightly more aggressive, darker tuning that suited the heavier material on the album, and it doesn't compromise the classic Slayer sound too much on the faster tracks. The opener, "Bitter Peace," is a good example of how the new tuning works in context, starting with a heavy, groovy riff that leads to an unusual bass guitar break before launching into typically fast, thrash metal Slayer riffs. There are some filtered vocals throughout the song, as already experimented with on "Divine Intervention," but aside from these relatively new elements, it's a classic Slayer song that takes no prisoners, built to ignite carnage in the mosh pit. It's hardly a bewildering beginning, as it includes all the elements Slayer fans love, including the usual manic solos by King and Hanneman.

The blonde guitar player is actually the main composer for all the music on the album, having written all the songs except one, which probably explains all the hardcore influences on display; it's no secret that Hanneman loved the hardcore punk scene of the 1980s, and the 1996 "Undisputed Attitude" cover album was a love letter from the band to that style; it even included a few original songs that Hanneman had written for a hardcore side project that never materialized.

It's not surprising, then, to hear a song like "Death's Head," a heavily hardcore-influenced mid-tempo track with bludgeoning power chords, as well as unusual guitar effects and a bass guitar break in the middle. "Diabolus…" is probably the Slayer album where the bass is most prominent, coming to the forefront at several points throughout its running time. It's an unusual but intriguing detail, as are the filtered and distorted vocals used on several tracks. "Stain of Mind" and "Love to Hate" are the two other songs where the nods to hardcore and punk are most obvious, as are the Biohazard vibes. It's definitely a trip to hear Araya delivering rap metal vocal lines over jumpy, groove-infused riffs, but it somehow works if you are open-minded enough to accept it for what it is. Does it sound strange? Yes, it's odd for Slayer, but it's all played with such conviction and aggression that you cannot help but be captivated by its sheer power.

Since I previously mentioned "Undisputed Attitude," you should remember it also featured a proper Slayer song titled "Gemini," an unsung classic built on sludgy riffs, heavy grooves, and haunting vocals. Alongside the hardcore influences, that more ominous sound also appears on "Diabolus…" in songs such as "Perversions of Pain" and "Desire," which feature paranoid vocals, eerie guitar arpeggios (both clean and distorted), and sinister atmospheres, paired with more ferocious, sudden thrash outbreaks. "Overt Enemy" and "In the Name of God" (the latter being the only song written by Kerry King) are not far behind in terms of somber mood, blending tense riffs with anthemic choruses and double kick-driven speed-ups.

Old-school Slayer fans will be pleased by a couple of mostly fast and furious tracks like "Scrum" and "Point," or the typical Slayer mid-tempo "Screaming from the Sky," although the latter feels a bit like filler material. The Japanese edition includes a couple of extra tracks, "Wicked" and "Unguarded Instinct," and while they're decent, chuggy, mid-tempo songs with some inspired soloing, they're a bit plodding and unmemorable. I won't hold them against the overall judgment, though.

Rick Rubin's raw production is solid, with very dry, in-your-face drums, murky guitars, and audible bass. The band is on fire and still sounds youthful, especially Araya, who literally screams his lungs out like a madman for the entire record. Bostaph doesn't show off as he did on "Divine Intervention," mostly serving the songs and sticking to an apparently simpler drumming style; however, if you listen closely, you'll realize that many of his patterns are more difficult and elaborate than they seem.

"Diabolus in Musica" was certainly a bit of a surprise at the time, and I remember feeling slightly underwhelmed when I bought it, as I was expecting another record in the vein of "Divine Intervention." However, it quickly grew on me, and its slightly adventurous—yet still brutal—approach was a breath of fresh air. While it may not be a classic, it's still a commendable effort with clever ideas and inspired songwriting by Hanneman. Compared to what the band's peers were doing at the time, it's clear that Slayer was the only one among the Big Four to survive the end of the 1990s without giving in to mainstream pressure. Nu-metal? Pfft, get outta here...

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