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Track listing No. Title Lyrics Music Length 1. "Bitter Peace" Jeff Hanneman Hanneman 4:32 2. "Death's Head" Hanneman Hanneman 3:34 3. "Stain of Mind" Kerry King Hanneman 3:24 4. "Overt Enemy" Hanneman Hanneman 4:41 5. "Perversions of Pain" King Hanneman 3:33 6. "Love to Hate" Hanneman, King Hanneman 3:07 7. "Desire" Tom Araya Hanneman 4:19 8. "In the Name of God" King King 3:40 9. "Scrum" King Hanneman 2:16 10. "Screaming from the Sky" Hanneman, King, Araya Hanneman 3:12 11. "Point" King Personnel Tom Araya -- bass, vocals Jeff Hanneman -- guitar, backing vocals Kerry King -- guitar, keyboards, backing vocals Paul Bostaph -- drums Rick Rubin -- producer Howie Weinberg -- mastering Greg Gordon -- engineer Brian Davis -- assistant engineer John Tyree -- assistant engineer Sebastian Haimerl -- assistant engineer Allen Sanderson -- assistant engineer Exum -- photography Frank -- art direction Wade Goeke -- assistant engineer Diabolus in Musica From Wikipedia, the free encyclopedia For the musical interval, see tritone. For other uses, see Diabolus in musica. Diabolus in Musica Studio album by Slayer Released June 9, 1998 Recorded 1997--1998 Oceanway Studios Hollywood Sound, Los Angeles, California, U.S. Genre Thrash metal, groove metal Length 40:24 Label American Producer Slayer, Rick Rubin Slayer chronology Undisputed Attitude (1996) Diabolus in Musica (1998) God Hates Us All (2001) Diabolus in Musica is the eighth studio album by American thrash metal band Slayer. Released on June 9, 1998, it is the third studio album to feature drummer Paul Bostaph. Although receiving mixed critical reviews, the album sold 46,000 copies in its first week to peak at number 31 on the Billboard 200. Guitarist Jeff Hanneman wrote most of the album's content which has been described as Slayer's most experimental album. It is the band's first studio album to be played mostly in C# tuning. The album's title is a Latin term for "The Devil in Music", a musical interval known for its dissonance. Lyrical themes explored on the album include religion, deviants, death, maniacs, war, and serial killers. Slayer guitarist Jeff Hanneman described the writing process as, "When we were writing this album I was looking for something to beat; I wanted something to beat, but nothing impresses me right now. Nothing sounded really aggressive or heavy enough to inspire me to beat it, so I just had to come up with my own shit."[1] The album was produced by Rick Rubin and was recorded at Oceanway Studios.[2] Adrien Begrand of PopMatters felt Slayer introduced characteristics to its music including tuned down guitars, murky chord structures, and churning beats. He believed these characteristics were adopted in response to the then-burgeoning nu metal scene.[3] Drummer Paul Bostaph claims the album is his favorite as he thought the album was "as experimental as Slayer got".[4] This included incorporating groove metal elements and strange vocal effects as said by an interview for High Times.[5] Bostaph returned to Slayer after his short-lived side project The Truth About Seafood, and the band entered the recording studio four months later.[4] [edit]Album title and lyrical themes However, not all reviewers were so positive. Reviewing Slayer's 2001 album God Hates Us All, Blabbermouth.net reviewer Borijov Krgin described Diabolus in Musica as "a feeble attempt at incorporating updated elements into the group's sound, the presence of which elevated the band's efforts somewhat and offered hope that Slayer could refrain from endlessly rehashing their previous material for their future output."[12] A reviewer for Teufel's Tomb wrote "The album is best described as South of Heaven with a 90′s edge to it. It is a much slower paced, lower tuned album than their previous material, which almost gives me the impression that the band may be getting too old to crank out the speedy stuff anymore" and criticized the song Love to Hate writing "the ultim...