Diabolus in Musica is the seventh studio album by the American thrash metal band Slayer, released on June 9, 1998 through American Recordings. The record is commonly described as one of the band's most experimental efforts: it blends Slayer's characteristic aggression with lower tunings, groove-oriented rhythms and production choices that drew comparisons to contemporary metal trends of the late 1990s. The album peaked at No. 31 on the Billboard 200.
Background and recording
Work on the album began after Slayer had established itself as a leading act in the thrash movement. Much of the material on Diabolus in Musica was written by guitarist Jeff Hanneman, who later said he was trying to create something more rhythmically driven: "When we were writing this album I was looking for something to beat; I wanted something to beat... so I just had to come up with my own shit." The band experimented with downtuned guitars and a tighter, more percussive guitar tone, aiming for a heavier and, at times, slower feel than some of their earlier, faster work.
Musical style and themes
Diabolus in Musica is often described as a transitional record in Slayer's catalogue. Songs move between traditional thrash speed and mid-tempo grooves; riffs are frequently lower in pitch, giving the album a darker, denser sonic texture. Lyrically the album continues Slayer's interest in violent, religious and social themes, delivered through aggressive vocals and blunt imagery. The combination of modern production, groove elements and the band’s established intensity made the album noticeably different from the classic 1980s releases.
Lyrics and controversies
Some songs on the album prompted internal debate and public discussion. Vocalist Tom Araya reportedly raised concerns about the lyrical content of tracks such as "In the Name of God", written by guitarist Kerry King. King defended the material as part of the band's persona and creative license, noting in interview that the role of provocation is intrinsic to their image: "It's like, 'C'mon, man, you're in Slayer. You're the antichrist — you said it yourself on the first album!'... So you have to say, 'Well, it's just a part of being in this band.'" The title itself—Diabolus in Musica—is a historical musical term meaning "the devil in music," traditionally used to describe the dissonant tritone interval; the choice of title reflects the record’s deliberate flirtation with darker sonorities.
Release, reception and legacy
Upon release, the album received mixed reviews. Some critics and listeners praised Slayer for taking creative risks and updating their sound, while others criticized the band for leaning toward contemporary trends and for the album’s departure from pure thrash dynamics. Its commercial performance—reaching No. 31 on the Billboard 200—demonstrated a strong fanbase despite the divided response. In subsequent years Diabolus in Musica has been reassessed by some as an adventurous, if polarizing, chapter in Slayer's long career.
Notable tracks and listening pointers
- "In the Name of God" — A focal point for lyrical debate and a clear example of the record's aggressive themes.
- "Stain of Mind" — One of the album's more accessible tracks, illustrating the balance between melody and heavy groove.
Diabolus in Musica stands as a document of a major metal band adapting to a changing musical landscape while maintaining its core intensity. For listeners exploring Slayer's discography, it represents a distinct sound and era—one that helps explain how the group navigated both artistic impulses and audience expectations in the late 1990s.
For further context on the band and its members see resources on American thrash metal bands and profiles of individual members such as Jeff Hanneman, Tom Araya and Kerry King.