⛧
Fatal Portrait (1986)
In early 1985, following the tour for Don't Break the Oath, Mercyful Fate split up. The prime reason seemed to be creative differences between King and Hank Shermann. Along with Michael Denner and Timi Hansen, King Diamond embarked upon a solo career that would carry on the same musical tradition, with some new elements, and also saw the Satanic black metal of Mercyful Fate replaced with a horror concept. King Diamond's debut album, Fatal Portrait, was written entirely by King and Michael Denner, with no input from new guitarist Andy LaRocque.
The first time I listened to this was on a cold night in November, and I experienced this masterpiece for the first time with only a few candles illuminating the room. There was just enough light for me to follow along with the lyrics. It took several months before I gave this album even a moment's rest.
Several of the musical influences utilized by Mercyful Fate are still present on this album, particularly the complex song structures inspired by early Black Sabbath, along with the speed metal that was typical of the era. However, Fatal Portrait also points toward something new. Unlike the works that followed, this is not a full concept album. The story is only present in about half of the songs, indicating that this may have been somewhat of an experiment.
The atmosphere is one of the album's greatest strengths. "The Candle" begins with sounds befitting a horror score. The keyboard intro goes well with the nightmarish vocals that lead into a haunting organ piece and may very well raise the hair on the back of your neck. As the guitars and drums come in, it is apparent that this is the legacy of Mercyful Fate. King's vocals create an eerie effect before he actually begins singing. Throughout the album, he mostly utilizes falsetto and it really suits the music. More importantly, he uses his voice as an instrument, often in place of keyboards, adding eerie melodies and emphasizing the dark, haunting atmosphere.
Musically, Fatal Portrait retains the highly complex structures of Mercyful Fate while also incorporating more straight-forward material. Songs such as "The Candle", "Dressed in White" and "Haunted" possess these elaborate arrangements, while "Halloween", "Lurking in the Dark" and "Charon" are a bit more direct. The riffs are very epic and the vocal melodies are just as important as the guitars. Listening to this album gives one the feeling of going on some sort of journey back in time.
The guitar work throughout is exceptional. The solos consistently add another dimension to the material, while the riffs remain memorable long after the album has ended. "Charon" introduces a rawer, thrashier edge and even features a riff around the two-minute mark that sounds very similar to the main riff in "Abigail". "Lurking in the Dark", one of the faster songs on the album and a staple of my radio show throughout the last seven years, features killer solos, King's inhuman howling and a chorus that is nothing short of amazing. This is great music for driving in the middle of the night on a deserted road, with cold winds blowing in the open window.
"Halloween" is another highlight. The riffs and the feeling in the vocals are incredible. It sounds as if this song, in particular, was quite enjoyable for them to record. There's an extra bit of passion that shows in King's performance. Just listening to it makes me want to sit down for several hours watching classic horror films featuring with Bela Lugosi and Boris Karloff.
The story concludes with "Haunted", maintaining the album's dark atmosphere and even featuring acoustic sections. "The Lake", though not included on the original release, is one of my favourite King Diamond songs ever recorded. The galloping pace and piercing vocals accompany some of the most memorable riffs on the album. The melodies are absolutely haunting and remain in the dark recesses of your mind long after the album has ended. I can't fathom why this one was kept on the shelf. Even the way the song ends serves as a very appropriate conclusion.
Fatal Portrait does well to carry on the spirit of Mercyful Fate while giving birth to something new as well. This album is the bridge between Don't Break the Oath and Abigail. In my view, it's tied with the latter as the best King Diamond album ever recorded, far from being the "weak" album that many seem to label it as. If you don't own this classic, throw yourself off a cliff. Hopefully, the jagged rocks beneath will knock some sense into you.
The first time I listened to this was on a cold night in November, and I experienced this masterpiece for the first time with only a few candles illuminating the room. There was just enough light for me to follow along with the lyrics. It took several months before I gave this album even a moment's rest.
Several of the musical influences utilized by Mercyful Fate are still present on this album, particularly the complex song structures inspired by early Black Sabbath, along with the speed metal that was typical of the era. However, Fatal Portrait also points toward something new. Unlike the works that followed, this is not a full concept album. The story is only present in about half of the songs, indicating that this may have been somewhat of an experiment.
The atmosphere is one of the album's greatest strengths. "The Candle" begins with sounds befitting a horror score. The keyboard intro goes well with the nightmarish vocals that lead into a haunting organ piece and may very well raise the hair on the back of your neck. As the guitars and drums come in, it is apparent that this is the legacy of Mercyful Fate. King's vocals create an eerie effect before he actually begins singing. Throughout the album, he mostly utilizes falsetto and it really suits the music. More importantly, he uses his voice as an instrument, often in place of keyboards, adding eerie melodies and emphasizing the dark, haunting atmosphere.
Musically, Fatal Portrait retains the highly complex structures of Mercyful Fate while also incorporating more straight-forward material. Songs such as "The Candle", "Dressed in White" and "Haunted" possess these elaborate arrangements, while "Halloween", "Lurking in the Dark" and "Charon" are a bit more direct. The riffs are very epic and the vocal melodies are just as important as the guitars. Listening to this album gives one the feeling of going on some sort of journey back in time.
The guitar work throughout is exceptional. The solos consistently add another dimension to the material, while the riffs remain memorable long after the album has ended. "Charon" introduces a rawer, thrashier edge and even features a riff around the two-minute mark that sounds very similar to the main riff in "Abigail". "Lurking in the Dark", one of the faster songs on the album and a staple of my radio show throughout the last seven years, features killer solos, King's inhuman howling and a chorus that is nothing short of amazing. This is great music for driving in the middle of the night on a deserted road, with cold winds blowing in the open window.
"Halloween" is another highlight. The riffs and the feeling in the vocals are incredible. It sounds as if this song, in particular, was quite enjoyable for them to record. There's an extra bit of passion that shows in King's performance. Just listening to it makes me want to sit down for several hours watching classic horror films featuring with Bela Lugosi and Boris Karloff.
The story concludes with "Haunted", maintaining the album's dark atmosphere and even featuring acoustic sections. "The Lake", though not included on the original release, is one of my favourite King Diamond songs ever recorded. The galloping pace and piercing vocals accompany some of the most memorable riffs on the album. The melodies are absolutely haunting and remain in the dark recesses of your mind long after the album has ended. I can't fathom why this one was kept on the shelf. Even the way the song ends serves as a very appropriate conclusion.
Fatal Portrait does well to carry on the spirit of Mercyful Fate while giving birth to something new as well. This album is the bridge between Don't Break the Oath and Abigail. In my view, it's tied with the latter as the best King Diamond album ever recorded, far from being the "weak" album that many seem to label it as. If you don't own this classic, throw yourself off a cliff. Hopefully, the jagged rocks beneath will knock some sense into you.
(31 Oct. 2008)
Abigail (1987)
While Fatal Portrait felt, in some ways, to be connected with Don't Break the Oath, the final traces of Mercyful Fate seem to have faded with that L.P. Released in October 1987, the iconic Abigail is often considered to be the definitive King Diamond record. Unlike the previous full-length, the band's second outing is a full concept album, and features minimal input from guitarist Michael Denner, while Andy LaRocque gets a few credits for the first time. For various reasons, Abigail feels like the real starting point for King Diamond's 'solo' career.
The music is very dynamic and goes well with the story being told. The songwriting is brilliant, as is the arrangement. Each idea flows into the next, flawlessly, as does each song, one after the other. Every riff, solo and vocal line is exactly as it should be. King's falsetto style was never again used to such perfection. For some, this can be a dealbreaker and you either love or hate his vocals. For me, his voice is best at a high volume, enough to shatter your skull. He does a great job adding drama to the proceedings, and many of the vocal lines are as powerful and memorable as the riffs themselves. Unlike later albums, such as the awful "Them", each composition is strong enough to stand on its own, rather than only working as part of a greater whole as is often the case with concept albums.
The production is very clear and powerful, suiting this style of music. It definitely lacks the slight murkiness that was present on Fatal Portrait, sounding as if the band had quite a budget to work with. My personal preference tends to lean more toward the debut but, that said, there's really nothing wrong with Abigail. King Diamond's first two records definitely deserve to be considered classics and are highly recommended. Standout tracks include "Arrival", "The 7th Day of July 1777" and "Black Horsemen.
The music is very dynamic and goes well with the story being told. The songwriting is brilliant, as is the arrangement. Each idea flows into the next, flawlessly, as does each song, one after the other. Every riff, solo and vocal line is exactly as it should be. King's falsetto style was never again used to such perfection. For some, this can be a dealbreaker and you either love or hate his vocals. For me, his voice is best at a high volume, enough to shatter your skull. He does a great job adding drama to the proceedings, and many of the vocal lines are as powerful and memorable as the riffs themselves. Unlike later albums, such as the awful "Them", each composition is strong enough to stand on its own, rather than only working as part of a greater whole as is often the case with concept albums.
The production is very clear and powerful, suiting this style of music. It definitely lacks the slight murkiness that was present on Fatal Portrait, sounding as if the band had quite a budget to work with. My personal preference tends to lean more toward the debut but, that said, there's really nothing wrong with Abigail. King Diamond's first two records definitely deserve to be considered classics and are highly recommended. Standout tracks include "Arrival", "The 7th Day of July 1777" and "Black Horsemen.
(21 Oct. 2016)
"Them" (1988)
Released in June 1988, "Them" is the third full-length from King Diamond and the first since the departure of guitarist Michael Denner. Though often praised by critics, this is actually the weakest record from King Diamond's classic era. From the songwriting to the theme to the production itself, various elements combine to make this a rather mediocre and forgettable L.P.
"Them" really sticks out like a sore thumb, when compared to the likes of Abigail, Conspiracy and even The Eye. The production is very weak and flat, lacking the power and dynamics of the aforementioned records. Strangely, this sort of sound was used once again, years later, on The Spider's Lullabye. The change in studios was not the only detriment.
As with its predecessor, "Them" is a concept album, but one that really misses its mark. I'm not generally a fan of concept albums in the first place, but Abigail was much better in terms of the story and the songwriting. On that record, each song is still strong enough to stand on its own, musically. However, "Them" seems to contain a lot of filler, only there to serve the dull storyline. As well, King's vocals seem to have jumped the shark a bit, with the range of voices going too over-the-top, especially considering that he is screaming about a mentally-ill grandmother and cups of tea. It's just impossible to take any of this seriously.
Regarding the music itself, the best song on here is "The Accusation Chair". This is the only one on here that I feel could easily stand on its own, apart from the album as a whole. "Welcome Home" and "Mother's Getting Weaker" have their moments, though the chorus (and title) of the latter is just unbearably lame. The rest is just incredibly dull and pointless. The riffs feel interchangeable and there's hardly any real focus. Most of the material on here just serves as a generic backdrop to the idiotic story and plethora of voices. This feels like something that was just thrown together in a hurry.
"Them" has long been overrated by those with a less discerning taste. This represents a real drop in quality from Abigail. When exploring the classic albums from King Diamond, be sure to skip over this one and move on to Conspiracy. There's not much of value here.
"Them" really sticks out like a sore thumb, when compared to the likes of Abigail, Conspiracy and even The Eye. The production is very weak and flat, lacking the power and dynamics of the aforementioned records. Strangely, this sort of sound was used once again, years later, on The Spider's Lullabye. The change in studios was not the only detriment.
As with its predecessor, "Them" is a concept album, but one that really misses its mark. I'm not generally a fan of concept albums in the first place, but Abigail was much better in terms of the story and the songwriting. On that record, each song is still strong enough to stand on its own, musically. However, "Them" seems to contain a lot of filler, only there to serve the dull storyline. As well, King's vocals seem to have jumped the shark a bit, with the range of voices going too over-the-top, especially considering that he is screaming about a mentally-ill grandmother and cups of tea. It's just impossible to take any of this seriously.
Regarding the music itself, the best song on here is "The Accusation Chair". This is the only one on here that I feel could easily stand on its own, apart from the album as a whole. "Welcome Home" and "Mother's Getting Weaker" have their moments, though the chorus (and title) of the latter is just unbearably lame. The rest is just incredibly dull and pointless. The riffs feel interchangeable and there's hardly any real focus. Most of the material on here just serves as a generic backdrop to the idiotic story and plethora of voices. This feels like something that was just thrown together in a hurry.
"Them" has long been overrated by those with a less discerning taste. This represents a real drop in quality from Abigail. When exploring the classic albums from King Diamond, be sure to skip over this one and move on to Conspiracy. There's not much of value here.
(28 Oct. 2016)
Conspiracy (1989)
King Diamond's fourth full-length, Conspiracy, was released through Roadrunner Records in August 1989. This L.P. features the same lineup as its predecessor and was recorded at the same studio, but is vastly superior. The feeling from Fatal Portrait and Abigail is definitely gone forever, but this is a very solid album.
Conspiracy continues the story from "Them" and, though the first part seemed quite weak, turns out to be a much more interesting concept this time around. Unlike the previous album, none of the tracks here feel like filler that only exist to prop up the lyrics. While some songs are certainly stronger than others, each one is able to stand on its own. The album is filled with very epic riffs and memorable vocal lines, especially the opening track "At the Graves". The much more robust production really suits the material, as well. The guitars sound much more dynamic, as opposed to the flat sound of "Them". In a sense, the guitars are more geared toward the large-budget stadium rock sound, reminiscent of Ozzy Osbourne's No Rest for the Wicked. It's heavier, but not in the same way as an album like Abigail, which had a sharper and more metallic guitar tone.
Musically, the compositions here are miles ahead of those found on "Them". The aforementioned "At the Graves" is just a massive beast, perhaps a little too long, but still a monumental track and a good one from which to build the rest of the album. Songs like "Sleepless Nights", "Amon Belongs to Them" and "Victimized" are bursting with the same sort of energetic riffs that will easily hold your interest. As well, King's voice is still in good form here and provides a lot of memorable moments. "A Visit from the Dead" may be the most melodic and complex track on here, along with "Something Weird". It begins with a quiet section that then gives way to some very Abigail-esque riffs. These combine with King's haunting falsetto screams to create a rather dire feeling. "Let It Be Done" and "Cremation" also do well to maintain the horror vibe.
While it cannot compare to the first two records, Conspiracy unquestionably deserves to be considered part of King Diamond's classic period. It's a very solid album that does well to correct the mistakes made on the previous release. After the very first listen, it's quite likely that many of these riffs and vocal lines will remain in your head for a while. Though none of the tracks can really match up to the intense and epic opener, there's not a bad song on here. This is definitely recommended.
Conspiracy continues the story from "Them" and, though the first part seemed quite weak, turns out to be a much more interesting concept this time around. Unlike the previous album, none of the tracks here feel like filler that only exist to prop up the lyrics. While some songs are certainly stronger than others, each one is able to stand on its own. The album is filled with very epic riffs and memorable vocal lines, especially the opening track "At the Graves". The much more robust production really suits the material, as well. The guitars sound much more dynamic, as opposed to the flat sound of "Them". In a sense, the guitars are more geared toward the large-budget stadium rock sound, reminiscent of Ozzy Osbourne's No Rest for the Wicked. It's heavier, but not in the same way as an album like Abigail, which had a sharper and more metallic guitar tone.
Musically, the compositions here are miles ahead of those found on "Them". The aforementioned "At the Graves" is just a massive beast, perhaps a little too long, but still a monumental track and a good one from which to build the rest of the album. Songs like "Sleepless Nights", "Amon Belongs to Them" and "Victimized" are bursting with the same sort of energetic riffs that will easily hold your interest. As well, King's voice is still in good form here and provides a lot of memorable moments. "A Visit from the Dead" may be the most melodic and complex track on here, along with "Something Weird". It begins with a quiet section that then gives way to some very Abigail-esque riffs. These combine with King's haunting falsetto screams to create a rather dire feeling. "Let It Be Done" and "Cremation" also do well to maintain the horror vibe.
While it cannot compare to the first two records, Conspiracy unquestionably deserves to be considered part of King Diamond's classic period. It's a very solid album that does well to correct the mistakes made on the previous release. After the very first listen, it's quite likely that many of these riffs and vocal lines will remain in your head for a while. Though none of the tracks can really match up to the intense and epic opener, there's not a bad song on here. This is definitely recommended.
(19 Nov. 2016)
The Eye (1990)
The fifth King Diamond L.P. was recorded in Sweet Silence Studio (of Ride the Lightning fame) and released in October 1990. As with Conspiracy, this album pales in comparison to Fatal Portrait or Abigail; however, The Eye holds a fair amount of sentimental value.
The best songs on this record feature very memorable riffs, quite similar to Conspiracy. Nevertheless, with the abundance of keyboards and clean guitars that are utilized throughout the album, The Eye comes off as a but softer than its predecessor. Tracks like "The Trial (Chambre Ardente)" and "Two Little Girls" are fairly weak and are yet another example of how concept albums tend to let the story dictate the flow of things, rather than the music itself. Placing these, essentially, 'throwaway tracks' so close to the beginning of the L.P. really kills the momentum before it even had a chance to build. Some of the other songs don't seem fully strong enough to stand on their own, like "Into the Convent" and "Father Picard". In fact, this is probably true of every track aside from the opener and "Behind These Walls". That said, despite a few speed bumps, the album works really well as a whole. The Eye still possesses a strong '80s metal feel, due to the style of riffs and the solos. King's voice is also in good condition on this recording, with some quite infectious vocal lines, such as those found in the aforementioned "Behind These Walls" and "The Curse". Special mention should be made of the brief instrumental track, "Insanity". It does so well to create a really sombre atmosphere and its placement on the album works very well.
The Eye marks the end of King Diamond's classic period. The strongest songs on here are probably "Eye of the Witch", "Behind These Walls" and "1642 Imprisonment". Truth be told, The Eye is an album that is much more effective when listened to in its entirety. Though it might be difficult to properly assess this record, due to the nostalgia factor, it would be fair to say that it's a solid release and definitely worth checking out.
The best songs on this record feature very memorable riffs, quite similar to Conspiracy. Nevertheless, with the abundance of keyboards and clean guitars that are utilized throughout the album, The Eye comes off as a but softer than its predecessor. Tracks like "The Trial (Chambre Ardente)" and "Two Little Girls" are fairly weak and are yet another example of how concept albums tend to let the story dictate the flow of things, rather than the music itself. Placing these, essentially, 'throwaway tracks' so close to the beginning of the L.P. really kills the momentum before it even had a chance to build. Some of the other songs don't seem fully strong enough to stand on their own, like "Into the Convent" and "Father Picard". In fact, this is probably true of every track aside from the opener and "Behind These Walls". That said, despite a few speed bumps, the album works really well as a whole. The Eye still possesses a strong '80s metal feel, due to the style of riffs and the solos. King's voice is also in good condition on this recording, with some quite infectious vocal lines, such as those found in the aforementioned "Behind These Walls" and "The Curse". Special mention should be made of the brief instrumental track, "Insanity". It does so well to create a really sombre atmosphere and its placement on the album works very well.
The Eye marks the end of King Diamond's classic period. The strongest songs on here are probably "Eye of the Witch", "Behind These Walls" and "1642 Imprisonment". Truth be told, The Eye is an album that is much more effective when listened to in its entirety. Though it might be difficult to properly assess this record, due to the nostalgia factor, it would be fair to say that it's a solid release and definitely worth checking out.
(28 Nov. 2016)
The Spider's Lullabye (1995)
In some ways, The Spider's Lullabye marks the beginning of the second era of King Diamond. It was the first album that the band had released in several years, and it featured a new vocal approach (among the various styles employed, here) that would come to dominate later albums. Yet it also signifies the end of the first era, as this music was already written years earlier, set to be released in 1991. Due to the poor promotion received by The Eye, sales weren't so good and things came to a halt. Finally, in late 1994, the band began recording their first album for Metal Blade Records. The Spider's Lullabye was released in June 1995.
Stylistically, this album still has quite a bit in common with the classics. There are tons of great '80s riffs and even nods to the old NWOBHM stuff. Unfortunately though, this record was the beginning of the awful and flat singing that King would start to rely on, more and more, from this point on. This is really evident on the title track. At least his performance is so varied that there are still a fair amount of the usual falsetto vocals as well as the mid-range stuff that he did in Mercyful Fate. The production is really weak though, with the guitar tone very reminiscent of "Them". The best tracks on here are "From the Other Side", "The Poltergeist" and, to a lesser extent, "Moonlight". The rest ranges from average to below average, none of which are all that essential.
The Spider's Lullabye is not a totally useless album. It's actually a cool thing that they took this material that was written in '89/'90 and brought it to life when they finally had the chance to do so, rather than just trashing it. While not that great, this stuff is defintely far more listenable than The Graveyard and the other albums that followed. There are a few tracks that are certainly worthy of hearing but the rest just depends on how much of a die-hard fan you are. Give it a try but don't expect too much.
Stylistically, this album still has quite a bit in common with the classics. There are tons of great '80s riffs and even nods to the old NWOBHM stuff. Unfortunately though, this record was the beginning of the awful and flat singing that King would start to rely on, more and more, from this point on. This is really evident on the title track. At least his performance is so varied that there are still a fair amount of the usual falsetto vocals as well as the mid-range stuff that he did in Mercyful Fate. The production is really weak though, with the guitar tone very reminiscent of "Them". The best tracks on here are "From the Other Side", "The Poltergeist" and, to a lesser extent, "Moonlight". The rest ranges from average to below average, none of which are all that essential.
The Spider's Lullabye is not a totally useless album. It's actually a cool thing that they took this material that was written in '89/'90 and brought it to life when they finally had the chance to do so, rather than just trashing it. While not that great, this stuff is defintely far more listenable than The Graveyard and the other albums that followed. There are a few tracks that are certainly worthy of hearing but the rest just depends on how much of a die-hard fan you are. Give it a try but don't expect too much.
(6 Sept. 2009)
House of God (2000)
Released in June 2000, House of God is the ninth King Diamond album and the first one in ages worth listening to. After several weak albums from both this band and the revived Mercyful Fate throughout the ’90s, this one came as quite a surprise. Admittedly, it does have its flaws, such as the more modern, digital production typical for the time. It lacks the natural reverb and space heard on something like Fatal Portrait, where the sound had room to breathe. However, despite the comparatively sterile sound, this is quite a solid album and the songwriting more than makes up for it.
Out of thirteen tracks, eight are worthwhile. “The Trees Have Eyes” is the highlight, a memorable track with galloping riffs and vocal lines that sound genuinely inspired. King still utilizes the more flat tone that he leaned on so heavily since the '90s, but there's more variation and falsetto here than in recent years. The title track, “Just a Shadow” and “Help!” are all strong, and even the closer, “Peace of Mind”, hearkens back to the instrumentals from Conspiracy and The Eye. “This Place Is Terrible” is the other true standout, creating an almost somber atmosphere at times while carrying a real sense of urgency.
While it doesn’t hold a candle to the ’80s material, House of God is easily the best thing King Diamond and Andy LaRocque had done in years. It’s filled with great riffs and vocals that will creep into your brain and stay there long after the album has finished. For anyone who dismissed this one because of how rotten the surrounding releases were, it’s definitely worth going back and giving it a proper listen.
Out of thirteen tracks, eight are worthwhile. “The Trees Have Eyes” is the highlight, a memorable track with galloping riffs and vocal lines that sound genuinely inspired. King still utilizes the more flat tone that he leaned on so heavily since the '90s, but there's more variation and falsetto here than in recent years. The title track, “Just a Shadow” and “Help!” are all strong, and even the closer, “Peace of Mind”, hearkens back to the instrumentals from Conspiracy and The Eye. “This Place Is Terrible” is the other true standout, creating an almost somber atmosphere at times while carrying a real sense of urgency.
While it doesn’t hold a candle to the ’80s material, House of God is easily the best thing King Diamond and Andy LaRocque had done in years. It’s filled with great riffs and vocals that will creep into your brain and stay there long after the album has finished. For anyone who dismissed this one because of how rotten the surrounding releases were, it’s definitely worth going back and giving it a proper listen.
(25 Oct. 2025)
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