Slayer’s 1998 album ‘Diabolus in Musica‘ is one of their most debated releases. It wasn’t a flop—by 2009, it had sold over 300,000 copies in the U.S.—but it never reached the legendary status of ‘Reign in Blood’ or ‘Seasons in the Abyss.’
Some fans see it as an underrated album, while others think it was Slayer’s failed attempt to keep up with late-’90s metal trends. That mixed reputation comes down to timing, style changes, and fan reception.
It’s A Departure From The Classic Slayer Sound
One big reason ‘Diabolus in Musica’ doesn’t get as much attention is its departure from Slayer’s usual style. The album leans into groove-heavy riffs, lower tunings, and a darker production, leading fans to notice some nu-metal influences.
Tracks like ‘Stain of Mind’ and ‘Love to Hate’ reminded some listeners of Korn or Pantera, which was a big contrast to Slayer’s fast and aggressive thrash roots. That shift divided fans, especially those who wanted the band to stick to their classic sound.
Guitarist Jeff Hanneman saw it as natural experimentation. By the late ’90s, metal was changing. Nu-metal was everywhere, and many traditional metal bands were either breaking up or adjusting their sound to stay relevant.
That’s why Slayer experimented with down-tuned guitars and groove-based songwriting in the 1998 record, which led some critics to accuse them of following trends instead of setting them. Even Kerry King admitted the album was his least favorite, saying the band lost focus by trying to “fit into today’s society.”
The backlash eventually led to Slayer rarely playing songs from the album live, with ‘Stain of Mind’ being the only consistent track in setlists after 2002.
The Album Still Deserves A Chance
Unlike King, half of the band members didn’t agree with the criticism. Drummer Paul Bostaph and bassist/vocalist Tom Araya have defended the album, with Araya calling it “very underrated.”
Over time, ‘Diabolus in Musica’ has remained an odd one in Slayer’s catalog. But even with its mixed reputation, the album still has a place in Slayer’s history, especially since it was one of the few records where Jeff Hanneman took the lead in songwriting. It also holds some unique qualities that helps it stand out.
The album’s use of tritone-based riffs, which ties into its title’s reference to ‘The Devil in Music,’ gives it a dark and unsettling feel that sets it apart from their earlier work. At the same time, songs like ‘Bitter Peace’ and ‘Point’ still have the intensity and aggression of Slayer’s thrash roots, showing that the band didn’t completely change their sound.
While some fans rejected the album at first, its layered songwriting and eerie atmosphere have aged well, gaining more appreciation from listeners willing to give it another shot.
