In its first week of release, the album sold 46, copies in the United States,  and debuted at number 31 on the Billboard However, not all reviewes were positive.
Reviewing a Slayer concert at Irving Plaza during the Diabolus in Musica tour, Ben Ratliff of The New York Times ' panned the album for its murky production,  saying: "Eight of the 11 songs on Diabolus in Musica , a few of which were played at the show, are in the same gray key, and the band's rhythmic ideas have a wearying sameness too.
The drums are milked really well, though" . Songs from the album were rarely played live following the return of drummer Dave Lombardo in , with "Stain of Mind" being the only constant. That's the one record that I really paid not enough attention to because I was really bitter about what kind of music was popular. I thought it was, was very frat boy stuff, and maybe that's why it was popular, I don't know. So Diabolus didn't get as much attention from me because, you know, we didn't stay in focus.
Looking back we were just saying, "alright, how do we make Slayer fit into today's society? That's our Turbo [laughs]. From Wikipedia, the free encyclopedia. For the musical interval, see tritone. For the Spanish symphonic metal band, see Diabulus in Musica.
For other uses, see the disambiguation. Araya Paul Bostaph. Yahoo music. In my version, this is still the same story, but I throw in a twist at the end. In the original song, the wife dies after burying the Knight, and the Ravens all exclaim "Such Devotion.. Such love This song is pretty traditional, and we play it like many other bands do. We decided to make it interesting by changing the instrumentation on the B-part of the melody.
We have My German Dudelsack start off the song, then it's joined by recorders and a shawm. Jocelyn had translated the entire Queen Lyrics into Latin for her Latin class to have fun with. Originally, we were going to sing it in Latin, but we realized that not everyone could handle the foreign language, and it wouldn't sound good as a solo.
We really wanted to have the song sung in a medieval tritone to give it that authentic medieval sound, but ended up just repeating the "Vibra, VibraBimus" in tritone. We added a famous Breton Andro to it, and out came our song.
Absolutely every other band I've heard sing this ancient Swedish Ballade does it the same way -- a slow heartbeat rhythm, and the song us sung slowly and sadly. We toyed with a "wind up monkey-band" version of it where we'd play it fast and furiously, but it never worked out, so we do it just like everyone else.
We added in one of the cantigas to fill in. It's a pastiche of Turlough O'Carolin's songs from the s, and their execution of it was interesting. We don't have 3 or 4 shawm players in the band, so we had to use different instrumentation.
We used to play it with one Rauschpfeife, but the instrument I had at the time was difficult to blow, and tempermental. So I insisted on playing the Sopranino recorder for practices, so I wouldn't strain myself, and the other band members liked it much better.
This is a very pretty song, but we don't play it at most faires, because audiences seem to prefer the louder music. Bagpipers usually play it as a duet, with the A and B melody played at the same time, on 2 or more bagpipes. T he medieval ear was used to hearing perfect fourths and perfect fifths - and perfectly in tune, too, unlike the modern equal-tempered scale.
The augmented fourth, being half-way between the two most common pure intervals, was about the worst discord imaginable. So this idea about the representation of the Trinity was a nice thought, but it doesn't work, so let's forget it.
Oh no. It fitted in with Plato, notions of the Harmony of the Spheres, and other esoterica. The theory had to be right. A lot of the thrash is gone in favour of groove riffs that sound like watered down Pantera. An unfortunate turn of events considering the quality of their earlier work. Things start off well enough with Bitter Peace. The beginning is pretty slow and it starts to become boring after about a minute. Thankfully, the song really picks up at the mark and it thrashes along quite nicely.
It sounds like something Fear Factory could have done apart from the solo of course. Scrum is a short brutal thasher and is a welcome relief from the tedium of the previous eight songs. It just sounds like the band is going through the motions.
The album does end on a good note with Point. Like the opening track, the beginning does drag a bit but it speeds up a bit quicker this time. It does slow down again in the middle but it speeds up again before the end.
At least the song manages to hold your attention throughout. The rest is pretty forgettable. This is definitely a case of downloading a few songs rather than buying the whole thing.
Nevertheless, there are diamonds in this rough album. Although it does sound like Machine Head, i. From the double-bass intro, to the sinister sounding chorus, this song harkens back to the glory days, albeit to a slower effect. Personally, this album opened the gates into the world of metal for me, so I might be subjected into giving this album a greater grade than it deserves. Still, despite its glaring shortcomings and lame moments, there are good songs that keep the album worthwhile to listen to.
Proceed with caution. I have to admit, when this album came out I initially took no notice. Boy, did I pick the wrong album to blow off. Although Hanneman and Kerry King both always have writing credits on each album, over the years they have begun alternating being the main contributors on albums.
On this album, improved writing, production and a reformed style add what was missing. The band makes their intention clear with the first song.
Not only do they kick in, they double the pace and the song starts to really fly. The sound is thick, the band is tight, and the song is brutal. They pull the same trick with the second track, a rhythmic intro straight into a heavier and quicker verse. The intro is short and the effect is that the listener has a couple seconds to catch a breath before plunging right back into the ferocious pace. This is one the fans will either love or hate—-it works for me.
Poor Paul Bostaph. Fans always gripe when people compare albums to older favorites. Is this the most underrated album of all time? All I know is that it's way better than what most people give it credit for.
Most of the thrash is gone, the songs are slower, the album is more melodic, and Araya actually sings here and there.
It's a vast improvement over Divine Intervention, and that's what matters. The best song is the first you hear, 'Bitter Peace'. It's pretty thrashy, actually, and completely and relentlessly in-your-face, and one of the best Slayer songs ever! While the rest of the album isn't as good as this, it sure is a cool album still. It has lot more groove than any other song before it, and many metalheads hates this groove-thing that's going on with this album.
And some people have the indecency to label it "mallcore". It's heavy metal, people! Wash your freaking ears! Now, the song itself is very good, with a nice tag-along riff, and a nice Now, for even more Hip and modern, something all old farts hate.
Furthermore, it's a bleedin' awesome track. The main riff ain't complicated, actually it's something I could play WOW! Which leads me to this album's main advantage compared to the older Slayer albums, it's a whole lot easier to remember the songs, as they intrude into your mind, never letting you go.
That's called catchiness. Not as in ballad, but as in doomy and gritty. Some excellent harmonies at the beginning helps set the mood, and the riff that follows and leads into the awesome verse is very nice. Hell, this song even has a memorable solo! When did Slayer write memorable solos!? Halfway the song speeds up slightly, losing none of its excellence.
There's some cool lyrics in this song. An even better song you can find in 'Perversions of Pain'. Again a in-your-face track.
It's not as fast as 'Bitter Peace', but it sure is great. The guitars works furious rhythms, and the drums are blasting into your now damaged brain. I am of the opinion that Paul Bostaph is the best drummer Slayer ever had, and his work on this album is mindblowing. Too bad he wimped out eventually.
Then we have 'Love to Hate' which some people has the nerve to call rap! Yes, it sounds cool and modern as hell, but how does that make it rap? There are guitars, killer drums, and all the heavy metal there should be. I do admit, though, that this could've been a reworked rap song from RunDMC or something. Hell, I don't hate rap, so why should I be in denial?
But only a very small one, for this is an alright song. It's midpaced as most of the album is , and there's nothing really wrong with it, except the slightly lame chorus, and the fact that nothing really happens. Still, this is good stuff. Again mid-paced, with a nice chugging riff, cool dual lead guitars, and awesome drumming.
Great section, especially the "Antichrist is the name of god! Talk about a song going from ok to fuckin a! What is a scrum? I have no idea, but 'Scrum' is still a nice song.
The section 43 seconds into the songs is cool as hell, and the thrashy section that follows makes you wanna headbang like crazy, maybe because there has been so little thrash so far. We're committed to providing low prices every day, on everything.
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See more details at Online Price Match. Related Pages :. Email address. Mobile apps. Walmart Services. Get to Know Us. Customer Service.The song "Human Disease" (), which was featured on the "Bride of Chucky" soundtrack, was recorded during the Diabolus in Musica sessions. Recording information: Recorded at Oceanway Studios, Los Angeles, CA. Additional recording and mixing at Hollywood Sound, Los Angeles, CA. Additional mixing at Groove Masters, Santa Monica, CA.