It may lack some of the spark and vitality of their s recordings, but it's nothing to be ashamed of either. Even if their liner art keeps getting more and more graphic, the music is still the same old Slayer , and that's pretty much what sellout-wary diehards want to hear.
I don't know what's the year of this release. Ever since my migration to Colorado from Arizona a year ago, I have been making required quarterly trips back home to visit mom and dad Enter this incredibly great album, which was my introduction to Slayer at age Nostalgia aside, I can't figure out why people refuse to give this album the credit it deserves. Now that I'm 13 years wiser, I do "get" this isn't South Of Heaven or Reign In Blood, and that if compared to the rest of the Slayer catalog, it just can't hold its own.
A highlight song. Next comes Overt Enemy. Intro with some radio broadcasts sounding, cliche but works well. Slow song overall, until , where it gains some speed. Quite a good riff there. A good song, though nothing special. Then comes Perversions of Pain. In fact, the first solo is thrown after the first chorus. Enter Love to Hate. The main riff sounds kinda Black Sabbath like. This is yet again a highlight.
After an interesting acoustic intro, the main riff starts playing, and Araya enters, trying to sound like a true necrophiliac Which is the theme of the song , but he ends up sounding like a bad rip-off of Kurt Cobain mumbling every word. The solos in this song are typical Slayer bad, and the song feels like it drags on for too long.
In The Name of God is one of the most repetitive songs of the album. A slow chugging riff in the verses, a few power chords for the chorus.
Of course, it had to get better, and Scrum gets the image clearer for this album. And the pace of this song fits the theme. Good solo, too. Also the shortest song of the album, but still quite good, a highlight more. Sadly, then comes Screaming from the Sky. This song is even more repetitive, with a riff that is basically the same during the entire song. The juxtaposition of slow riffs and quick-paced soloing delivers only the harshest of effects as can be expected from Slayer.
When combined as a whole, the end product of this album is a wholly satisfying experience. Compared with the bands earlier achievements, this album fits very well in their catalogue. However, this is not a bridge album. In short, this is a mature thrash album. And therein lies its strength. It is an evolution from the bands previous mid nineties albums and a maturation from their earlier eighties albums.
This is an album everybody can enjoy. It bears the heaviness many fans enjoy while maintaining that fast paced thrash element fans of classic Slayer look for. It progresses beyond the stale sound developed from Divine Intervention and Undisputed Attitude.
Finally, it honestly and wholeheartedly kicks ass. The louder the better, as I have mentioned. Do not play this album on your laptop speakers which I am guilty of doing as I write this review right now ; play it at maximum volume on stack speakers or towers. Play it in surround sound. Play it over and over again. Let's face facts: Slayer ran out of their presumably inexhaustible supply of relevance when they ran out of sounding evil. History will record that this transpired between the years of Seasons in the Abyss and Divine Intervention Coincidentally, these were the same years in which other big names of the extreme metal genre were experiencing their own difficulty in coming to identity with the changing 90s.
The dominance of grunge, 'alternative', British sop rock and the peaking of the rap game. Like Megadeth, Metallica, Anthrax and so many others, they felt forced to adapt themselves to this oncoming rush of change, and while they might not have bent so far as others in the declining thrash metal category, we were nevertheless left with the pungent shit-stain that is Diabolus in Musica, an album about as attractive as a fit of irritable bowel syndrome.
What the hell am I looking at? Billy Corgin masquerading as a Christian superhero? Or were Tom Araya and the boys finally giving us the reveal that they are not, in fact, nearly so Satanic as one might have believed from their legendary 80s albums.
The strange new logo and decidedly 90s cover image which inspires nothing but remorse would be one thing, and one thing I expected during a time in which Janes Addiction and Tool were considered the peak of musical artistry, but very quickly does the composition of its content take a dive for the lowest common denominator, the wretched wigga groove metal scene inhabited and dominated by acts like Korn, Machine Head, P.
Now, don't get me wrong Divine Intervention was an entirely mediocre record, yes, but it was Slayer being Slayer. Only boring, which no one in their right mind could really want, but that was the worst it could be accused of. An urbanization of their esoteric, interesting subject matter into the burgeoning Information Age. The boredom continues here through "Bitter Peace", a track that at least teases us into thinking their will be a good thrashin' waiting at the end of this ghetto rainbow.
Mundane groove chords stretch on into banality like some sorrow attempt to recapture the magic of Reign in Blood, that flawless exercise of an album that unfortunately launched a billion metalcore kids with its inescapable breakdowns. The later breakdown sucks, and about the only tolerable point of this song is the period from around when the leads break out against a decent but self-derived rhythm guitar.
This was a joke, right? Surely they were having a laugh on us? Oh no, my friends of misery, for "Stain of Mind" put the strain on mine. It sucks, hands down, and even at it's arguable best, the cluttered speed of "Scrum" or the clumsy, familiar grooving of "Screaming from the Sky" it feels like a half-assed grasp at a paycheck.
I'm surprised Rick Rubin didn't submit this directly to his friends over at Def Jam. Okay, so maybe it's not a rap metal record exactly, but it feels like a clear swerve towards that crowd of collegiates who discovered all their latest faves while loaded at the latest Lollapalooza or Ozzfest. All they needed were some Mike D and Ad Rock guest slots and they could have pushed million of these bottom line. And you know something? This all might have been fine if the grooves were good, the notes memorable, the vocal patterns as effective as their yesteryears.
Diabolus in Musica is such a dull, creatively bankrupt recording that it makes even its mediocre successors seem like brilliant bulbs of passion and musicianship. Of the many missteps made among the 'Big Four', this is second only to St. Anger in terms of its failure. I don't know about you cats, but I want my Slayer to sound like it originated from Malebolge, not the mall. An icon of perdition, not parachute pants. Slayer are one of the few bands that have earned the respect of all metal fans.
No matter what their favorite genres are, power, progressive, death or black, they accept Slayer as the top extreme metal band. Therefore every new album they are about to release is awaited with great eagerness and anxiety. Bearing in mind that the in-between release, Undisputed Attitude was something they did just for fun, I prayed this time I would listen to the good old Slayer.
This album is the total disappointment, the end of Slayer if I may say so. Where is the thrash metal in here? Where are the spiting fire guitars and the machine-gun drums? Where are the vomiting vocals by Tom Araya, the once master of screams? Where are the songs meant to make you suffer severe head and neck injuries from the non-stop headbanging? Where is the Slayer we knew and worshiped? I am sorry to say it but they are dead or if you prefer they are catching their final breath.
Slayer have sold their souls to the altar of hardcore!! His role in the band is insignificant and he is there just to play the drums. They might as well have used a drum machine. Men, Dave Lombardo was very clever to step away. What we had heard in Divine… is now in full development. The glorious, deadly thrash riffs have given their place to hardcore themes and tunes. They no more send shivers down your spine.
Instead they wanna make you scratch your balls out of boredom. Most of the songs are soulless and completely dull. They are based upon the same structure. Slow intros, then they go hard-shit-core. At some point they throw us a bit of thrash to fool us like a bone thrown to a dog to trick its hunger.
Then they wrap it up in a nice hardcore pack end everything is well. Most of the people I know that listen to hardcore liked this album a lot. Does that tell you something? There are only a few songs that remain out of this shit-hole. Also Overt Enemy and Scrum are closer to the spirit of the old greatness than the shit-ness I experienced with the rest.
THIS is the best song of the tape!! Slayer R. The problem is those Slayerisms, which I will get to. Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Thursday 16 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 MaySlayer Diabolus In Musica records, LPs and CDs.