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Mercyful Fate (1982)
Released in November 1982, Mercyful Fate's self-titled E.P. is a really solid dose of early '80s heavy metal. There is a strong NWOBHM influence that's evident from the very first riff. This definitely improves upon the sound of the various demos they'd recorded over the previous year or so. That said, it does feel a bit stripped down compared to the full-lengths that followed. Apparently, time and budget constraints didn't allow the band to do everything they had planned as far as backing choirs, additional guitar harmonies, and so on. King's vocals definitely feel incomplete, in a sense. The overall atmosphere isn't nearly as dark as Melissa or Don't Break the Oath, and lyrics like those on "Nuns Have No Fun" certainly add to this.
Still, the material is quite memorable and the songs are filled with great riffs and solos. Mercyful Fate always had the ability to create mini-epics, like "Doomed by the Living Dead", and this is thanks to the varied songwriting and excellent musicianship. This one is probably the highlight of the E.P., and it's too bad they didn't re-record it for the debut album. In fact, it's a shame that neither "Burning the Cross" nor "Return of the Vampire" were included here or on Melissa. All in all, this release is quite essential for fans of this band or just anyone into early '80s heavy metal.
Still, the material is quite memorable and the songs are filled with great riffs and solos. Mercyful Fate always had the ability to create mini-epics, like "Doomed by the Living Dead", and this is thanks to the varied songwriting and excellent musicianship. This one is probably the highlight of the E.P., and it's too bad they didn't re-record it for the debut album. In fact, it's a shame that neither "Burning the Cross" nor "Return of the Vampire" were included here or on Melissa. All in all, this release is quite essential for fans of this band or just anyone into early '80s heavy metal.
(8 Apr. 2009)
Melissa (1983)
Mercyful Fate's debut L.P. was released through Roadrunner Records in October 1983. It was here that the Danish black metal band fully realized their potential and established their sound. The album is filled with dark melodies, complex arrangements, and haunting vocals.
This time, they had ample studio time to add the vocal layers and guitar harmonies that were missing from the earlier E.P., and the result is something much darker and more epic. The production is clear but very organic, with a natural ambience and reverb that came from the recording process itself, something modern records often lack. The sound is immersive and suits the longer, more elaborate material. The guitar riffs are soaked in a late '70s and early '80s spirit, and there's an emotive quality most noticeable in tracks like "Curse of the Pharaohs" and "Into the Coven". A somber feeling is woven into many of the melodies, and the vocals carry far more conviction than before. Nearly every moment, from the riffs to the solos to the vocal phrasing, is memorable. Each song is distinct, but they all contribute to the same dark, cohesive atmosphere. "Black Funeral" stands out with its galloping rhythm and ominous guitar work. It's almost criminally short, but it’s packed with killer ideas and chilling vocal delivery.
Then there's the hellish and monumental "Satan's Fall", which runs over eleven minutes. The song is highly dynamic, with fast, aggressive riffs, slow, mournful sections, and classic heavy metal melodies all woven together into a descent into the abyss. Venom may have tried something similar with "At War with Satan", but they simply didn’t have the ability to pull it off the way Mercyful Fate could. The one real weak point is the title track. Musically, it’s effective, and the bleak, miserable melodies create a strong atmosphere. But the lyrics and vocals drag it down. It comes off like a breakup song thinly disguised as something occult, and it doesn’t match the tone of the rest of the album. Even worse, this otherwise flawless record ends up being named after some mundane girl's name.
Regardless, this is essential early '80s heavy metal and a crucial part of the first wave of black metal. Whether you're into Iron Maiden and Heavy Load or lean more toward early Slayer and Venom, this is mandatory listening.
This time, they had ample studio time to add the vocal layers and guitar harmonies that were missing from the earlier E.P., and the result is something much darker and more epic. The production is clear but very organic, with a natural ambience and reverb that came from the recording process itself, something modern records often lack. The sound is immersive and suits the longer, more elaborate material. The guitar riffs are soaked in a late '70s and early '80s spirit, and there's an emotive quality most noticeable in tracks like "Curse of the Pharaohs" and "Into the Coven". A somber feeling is woven into many of the melodies, and the vocals carry far more conviction than before. Nearly every moment, from the riffs to the solos to the vocal phrasing, is memorable. Each song is distinct, but they all contribute to the same dark, cohesive atmosphere. "Black Funeral" stands out with its galloping rhythm and ominous guitar work. It's almost criminally short, but it’s packed with killer ideas and chilling vocal delivery.
Then there's the hellish and monumental "Satan's Fall", which runs over eleven minutes. The song is highly dynamic, with fast, aggressive riffs, slow, mournful sections, and classic heavy metal melodies all woven together into a descent into the abyss. Venom may have tried something similar with "At War with Satan", but they simply didn’t have the ability to pull it off the way Mercyful Fate could. The one real weak point is the title track. Musically, it’s effective, and the bleak, miserable melodies create a strong atmosphere. But the lyrics and vocals drag it down. It comes off like a breakup song thinly disguised as something occult, and it doesn’t match the tone of the rest of the album. Even worse, this otherwise flawless record ends up being named after some mundane girl's name.
Regardless, this is essential early '80s heavy metal and a crucial part of the first wave of black metal. Whether you're into Iron Maiden and Heavy Load or lean more toward early Slayer and Venom, this is mandatory listening.
(11 Apr. 2009)
Black Masses (1983)
In December 1983, Music For Nations released the Black Masses single, by Mercyful Fate. This was not too long after their full-length debut, Melissa. In essence, this was more of a collector's item, as the main song was a revamped track from their demo days.
The original version of "Black Masses" was titled "You Asked For It" and appeared on the first Mercyful Fate demo in 1981. It's difficult to compare them, as the original really doesn't feel like it belongs with the rest of the band's material, quite honestly. "Black Masses" features different lyrics, though the vocal arrangements are very similar. The most notable change is during the chorus. Hearing the demo version first, it took a little time to get used to the newer recording, but it is actually more suitable for Mercyful Fate, in this incarnation. Still, there's something about the atmosphere that is more light than dark, despite their efforts to alter it. It wouldn't have been entirely out of place if they had chosen to include it on Melissa, but I'm thankful that they did not do so. It's a good song, but the inferior nature of the previous version cannot be fully erased.
The B-side for this single is a different version of "Black Funeral", a song that appeared on the debut. It sounds like a demo or rehearsal, being more raw and featuring none of the vocal layering that was on the album. It comes across as rather flat and dull, by comparison.
Black Masses is interesting enough as a collector's item, but not exactly essential. It's superior to everything they put out after reuniting, but not worth going to great lengths to obtain.
The original version of "Black Masses" was titled "You Asked For It" and appeared on the first Mercyful Fate demo in 1981. It's difficult to compare them, as the original really doesn't feel like it belongs with the rest of the band's material, quite honestly. "Black Masses" features different lyrics, though the vocal arrangements are very similar. The most notable change is during the chorus. Hearing the demo version first, it took a little time to get used to the newer recording, but it is actually more suitable for Mercyful Fate, in this incarnation. Still, there's something about the atmosphere that is more light than dark, despite their efforts to alter it. It wouldn't have been entirely out of place if they had chosen to include it on Melissa, but I'm thankful that they did not do so. It's a good song, but the inferior nature of the previous version cannot be fully erased.
The B-side for this single is a different version of "Black Funeral", a song that appeared on the debut. It sounds like a demo or rehearsal, being more raw and featuring none of the vocal layering that was on the album. It comes across as rather flat and dull, by comparison.
Black Masses is interesting enough as a collector's item, but not exactly essential. It's superior to everything they put out after reuniting, but not worth going to great lengths to obtain.
(27 Nov. 2010)
Don't Break the Oath (1984)
After establishing themselves as one of the best new bands in the growing underground metal scene of the '80s, the Danish black metal band Mercyful Fate returned to Copenhagen's Easy Sound Studios in May 1984 to record the follow-up to their classic debut. Once again, they worked with producer Henrik Lund, though the band members were much more hand-on this time around. The songs maintained the majestic heaviness that the band was known for and they harnessed their multi-tempo, multi-section style of songwriting into compact epics that were still complex, yet more hard-hitting. Released in the first week of September 1984, Don't Break the Oath proved to be a worthy successor to Melissa and cemented the legacy of Mercyful Fate.
Music has always had the ability to capture the atmosphere of the time when I am first discovering it. This masterpiece of early black metal was initially explored during a very dark and miserable time in my existence; therefore, it retains the hellish spirit of that period. In a way, it only adds to the overall feeling of darkness on the record. I obtained this shortly after the first one, so I found myself digesting both around the same time. After hearing how King Diamond's vocals were an acquired taste, I was surprised once I actually encountered them for myself. There was nothing to 'get used to' at all. With the music that I grew up with, this seemed fairly natural and I couldn't imagine the songs sounding any other way.
"A Dangerous Meeting" begins with a riff as sharp as a sacrificial blade, dripping with fresh blood. Immediately, it is apparent that the sound here is more raw and powerful than that of the previous album. The tension is present from the first moments, and it serves to build the anticipation. By the time the song really gets underway, you are nearly ready to burst. The opening solo is pure Mercyful Fate and could never be mistaken for anyone else. The mid-paced thrash riffs, along with King's insane falsetto are enough to pierce your skull. The songwriting is brilliant, showing great refinement from the earlier versions of this song. Of course, the lyrics display the same obsession with the occult, which has not lessened in any manner.
"Nightmare" begins with the drums and a simple bass line, before the guitars join in. This one utilizes a faster pace than the previous song, though possessing the usual tempo changes. It is said that the lyrics were inspired by a dream that King had, as a child, which is actually what triggered his interest in the occult. Near the middle, the riffs seem more reminiscent of something from the debut E.P. accompanied by very ghoulish vocals. As if this was not enough, it is followed by more classical guitar brilliance, unleashing a very haunting melody. This song seems to get better and better as it progresses, being almost inhumanly good. The overall feeling becomes more and more insane as the end draws near.
The next song begins with very heavy riffs and demonic vocals. "Desecration of Souls" displays a bit more of King's normal vocal approach and less falsetto, with the exception of the refrain. This one is more mid-paced, with more of a relaxed speed. There is more focus and direction than on the last song, and some truly amazing solo work. All in all, a very memorable piece.
"Night of the Unborn" begins with an insane solo, followed by guitar riffs that build in intensity. The song then changes pace, effortlessly. King's falsetto returns in full force, here. Again, one has to be impressed with Mercyful Fate's ability to create such memorable songs, while still maintaining the complexity. King's vocal lines have a lot to do with this, as they aren't just randomly shouted. Much like one of the instruments, he makes sure to remain in harmony with the rest and it all works very well. There is a brief burst of speed, as the song progresses, but this falls to the wayside in favor of some great lead solos.
The next song begins with a terrifyingly evil intro. This is no horror movie soundtrack. This is the audio equivalent of a black ritual, held on the night of the full moon, sacrificing virgins, in the light of torches, with rusted blades that have ended countless lives. "The Oath" is one of the most brilliant works of black art ever created. As the thunder rumbles in the distance, cold winds blow and the funeral bells toll through the sound of falling rain. As the song begins, you cannot help but be in awe of its genius. The first true verse of the song conveys a great deal of conviction.
"Gypsy" follows this, beginning with a very catchy riff. This is the shortest real song on here, though it contains all of the trademark ingredients of a classic Mercyful Fate song. The complex arrangements remain, as well as King's unique vocal approach and the blistering solo work of Hank Shermann and Michael Denner. The atmosphere isn't quite as dark as what was established on the previous song, probably in the hopes of giving the listener a bit of a breather. It is best, maybe, for them to finish hearing the album before sacrificing their soul to the lord of darkness.
More heavy and powerful riffs are found at the beginning of "Welcome Princess of Hell". There is a sorrowful feeling running through this one, though not too obvious. The mid-paced thrash riffs and killer solos are easily recognizable and remain stuck in your brain long after hearing this. Also worth mention is that there seems to be an issue regarding the title of the song. It is said that the actual name of the song is "Welcome Princes Of Hell", not "Welcome Princess Of Hell". It was a title misprint, where the lyrics were correctly written in the original pressing but the title wasn't. The distinction can also be heard in the song (the prince "is" vs. prince "s"), as well as the plural connotation of the lyrics "I'm alone with my friends, We will be back, we will be back." Though this is a small matter, it does change the interpretation of the song a great deal. Reading the lyrics, it seems to work, either way. Unfortunately, there is no mention of this on the official website, so it is not clear. Whatever the case, this is an undeniable classic.
"To One Far Away" is an instrumental track that takes the minimal amount of sorrow from the previous song and expands on it. This very brief piece has a somber feeling, reminiscent of the title track from the previous album.
This classic album concludes with "Come to the Sabbath". From the first moments, it grabs you by the throat in all its Satanic glory. The opening riffs are dark and epic, as well as King's evil wailing.
Music has always had the ability to capture the atmosphere of the time when I am first discovering it. This masterpiece of early black metal was initially explored during a very dark and miserable time in my existence; therefore, it retains the hellish spirit of that period. In a way, it only adds to the overall feeling of darkness on the record. I obtained this shortly after the first one, so I found myself digesting both around the same time. After hearing how King Diamond's vocals were an acquired taste, I was surprised once I actually encountered them for myself. There was nothing to 'get used to' at all. With the music that I grew up with, this seemed fairly natural and I couldn't imagine the songs sounding any other way.
"A Dangerous Meeting" begins with a riff as sharp as a sacrificial blade, dripping with fresh blood. Immediately, it is apparent that the sound here is more raw and powerful than that of the previous album. The tension is present from the first moments, and it serves to build the anticipation. By the time the song really gets underway, you are nearly ready to burst. The opening solo is pure Mercyful Fate and could never be mistaken for anyone else. The mid-paced thrash riffs, along with King's insane falsetto are enough to pierce your skull. The songwriting is brilliant, showing great refinement from the earlier versions of this song. Of course, the lyrics display the same obsession with the occult, which has not lessened in any manner.
"Tonight the circle is broken forever,As the song continues, the pace slows to a doom-filled crawl and the atmosphere is accentuated by the chiming of funeral bells and an incredibly eerie guitar solo. This is a very strong opener which sets the tone for the rest of the album.
Seven people dead within a trance,
In here nobody is sensing the rain,
Tonight seven souls are reaching Hell"
"Nightmare" begins with the drums and a simple bass line, before the guitars join in. This one utilizes a faster pace than the previous song, though possessing the usual tempo changes. It is said that the lyrics were inspired by a dream that King had, as a child, which is actually what triggered his interest in the occult. Near the middle, the riffs seem more reminiscent of something from the debut E.P. accompanied by very ghoulish vocals. As if this was not enough, it is followed by more classical guitar brilliance, unleashing a very haunting melody. This song seems to get better and better as it progresses, being almost inhumanly good. The overall feeling becomes more and more insane as the end draws near.
The next song begins with very heavy riffs and demonic vocals. "Desecration of Souls" displays a bit more of King's normal vocal approach and less falsetto, with the exception of the refrain. This one is more mid-paced, with more of a relaxed speed. There is more focus and direction than on the last song, and some truly amazing solo work. All in all, a very memorable piece.
"Night of the Unborn" begins with an insane solo, followed by guitar riffs that build in intensity. The song then changes pace, effortlessly. King's falsetto returns in full force, here. Again, one has to be impressed with Mercyful Fate's ability to create such memorable songs, while still maintaining the complexity. King's vocal lines have a lot to do with this, as they aren't just randomly shouted. Much like one of the instruments, he makes sure to remain in harmony with the rest and it all works very well. There is a brief burst of speed, as the song progresses, but this falls to the wayside in favor of some great lead solos.
The next song begins with a terrifyingly evil intro. This is no horror movie soundtrack. This is the audio equivalent of a black ritual, held on the night of the full moon, sacrificing virgins, in the light of torches, with rusted blades that have ended countless lives. "The Oath" is one of the most brilliant works of black art ever created. As the thunder rumbles in the distance, cold winds blow and the funeral bells toll through the sound of falling rain. As the song begins, you cannot help but be in awe of its genius. The first true verse of the song conveys a great deal of conviction.
"I deny Jesus Christ, the deceiver,The vocals are as haunting as the guitar melodies, truly working as another instrument. In many ways, this song defines what Mercyful Fate is all about. That much is evident in the lyrics.
And I abjure the Christian faith,
Holding in contempt all of its works"
"In the name of Satan, the ruler of Earth,In a sense, this is the musical follow-up to "Satan's Fall", though it is a bit more concise and has a definite theme. Unfortunately, it is another one of those songs that must be heard to be understood. This is something that you must experience to truly comprehend its dark Satanic majesty.
Open wide the gates of Hell and come forth from the abyss,
By these names: Satan, Leviathan, Belial, Lucifer,
I will kiss the goat"
"Gypsy" follows this, beginning with a very catchy riff. This is the shortest real song on here, though it contains all of the trademark ingredients of a classic Mercyful Fate song. The complex arrangements remain, as well as King's unique vocal approach and the blistering solo work of Hank Shermann and Michael Denner. The atmosphere isn't quite as dark as what was established on the previous song, probably in the hopes of giving the listener a bit of a breather. It is best, maybe, for them to finish hearing the album before sacrificing their soul to the lord of darkness.
More heavy and powerful riffs are found at the beginning of "Welcome Princess of Hell". There is a sorrowful feeling running through this one, though not too obvious. The mid-paced thrash riffs and killer solos are easily recognizable and remain stuck in your brain long after hearing this. Also worth mention is that there seems to be an issue regarding the title of the song. It is said that the actual name of the song is "Welcome Princes Of Hell", not "Welcome Princess Of Hell". It was a title misprint, where the lyrics were correctly written in the original pressing but the title wasn't. The distinction can also be heard in the song (the prince "is" vs. prince "s"), as well as the plural connotation of the lyrics "I'm alone with my friends, We will be back, we will be back." Though this is a small matter, it does change the interpretation of the song a great deal. Reading the lyrics, it seems to work, either way. Unfortunately, there is no mention of this on the official website, so it is not clear. Whatever the case, this is an undeniable classic.
"To One Far Away" is an instrumental track that takes the minimal amount of sorrow from the previous song and expands on it. This very brief piece has a somber feeling, reminiscent of the title track from the previous album.
This classic album concludes with "Come to the Sabbath". From the first moments, it grabs you by the throat in all its Satanic glory. The opening riffs are dark and epic, as well as King's evil wailing.
"Come come to the sabbath,This masterpiece features faster parts with riffs that are near thrash as well as slower sections. The complex arrangements flow together, seamlessly. This is the climax of the whole album; truly representative of what Mercyful Fate had to offer. It's all here, in this compact epic. There is even a passing reference to Melissa to be found here. In the last minute or two, the atmosphere becomes exceptionally dismal, with King's ghastly moans echoing over haunting classical guitar melodies. Very few songs, by any band, can approach the sheer brilliance of this masterpiece. Indeed, it is rare for many albums to reach the levels of brilliance found on Don't Break the Oath or its predecessor, Melissa. The sad thing is that, just as they had really built a great deal of momentum, Mercyful Fate had, unknowingly, recorded their swansong (for the time being). Creative differences between Hank Shermann and King Diamond led to the downfall of the band, which split in 1985. While Hank went on to form an ill-fated pop band, King Diamond began a solo career, joined by Michael Denner and Timi Hansen. The legacy of Don't Break the Oath can be found on Fatal Portrait, which features a similar sound, though being different enough that it warranted laying one band to rest and beginning a new one.
Down by the ruined bridge,
Later on the master will join us,
Called from the heart of Hell"
(12 Apr. 2009)
Return of the Vampire (1992)
In May 1992, Mercyful Fate fans received a gift from Roadrunner Records in the form of the Return of the Vampire compilation. With nearly a decade since the last release by this legendary band, this must have been a very welcome treat to the ears of those that had been previously unable to get their hands on this material.
Of the nine tracks on this collection, the most important are undoubtedly the first five, which are from the Burning the Cross demo. Of these, "Curse of the Pharaohs", "A Corpse Without Soul" and "On a Night of Fullmoon" were later recorded for the band's proper releases, the latter being an earlier version of "Desecration of Souls". The songwriting is a little more primitive here, though still enjoyable. Though not as concise, these somewhat longer and less focused versions still possess the same evil atmosphere that Mercyful Fate was known for. However, the real gems of this compilation are the massive epic track "Burning the Cross" and "Return of the Vampire".
The first time that I heard "Burning the Cross", I couldn't believe how incredible the song was; moreso, there was a sense of disbelief at the fact that the band neglected to include this masterpiece on either of their classic albums. Though some of the riffs were later used for other pieces, none compare to the brilliance of this composition. This takes the NWOBHM formula and injects it with an overdose of epic melodies and evil vibes. It is very memorable and just makes no sense that some version of this track was not featured on Melissa or Don't Break the Oath. It is almost a criminal offense. As for "Return of the Vampire", this song was revisited the following year and no real justice was done to this original. The ominous mid-paced riffs and haunting vocals make this one of the most memorable tracks of the band's career, even including the somewhat humourous backing vocals during the chorus. One has to wonder how this would have come across if re-recorded between 1983 and 1984.
As for the other four songs, they are certainly interesting to die-hard fans of Mercyful Fate, but they fail to match the atmosphere of the Burning the Cross demo tracks. It is fascinating to hear the band's development on tape, but this earlier and less evil version is not nearly as appealing as what they would soon after become.
It goes without saying that Return of the Vampire is an essential collection for any fan of Mercyful Fate. For those that are among the few to already possess a copy of Burning the Cross, then you can dismiss this. Otherwise, if you worship albums like Melissa and Don't Break the Oath, yet have not bothered to pick this up yet, do so with haste. This is highly recommended.
Of the nine tracks on this collection, the most important are undoubtedly the first five, which are from the Burning the Cross demo. Of these, "Curse of the Pharaohs", "A Corpse Without Soul" and "On a Night of Fullmoon" were later recorded for the band's proper releases, the latter being an earlier version of "Desecration of Souls". The songwriting is a little more primitive here, though still enjoyable. Though not as concise, these somewhat longer and less focused versions still possess the same evil atmosphere that Mercyful Fate was known for. However, the real gems of this compilation are the massive epic track "Burning the Cross" and "Return of the Vampire".
The first time that I heard "Burning the Cross", I couldn't believe how incredible the song was; moreso, there was a sense of disbelief at the fact that the band neglected to include this masterpiece on either of their classic albums. Though some of the riffs were later used for other pieces, none compare to the brilliance of this composition. This takes the NWOBHM formula and injects it with an overdose of epic melodies and evil vibes. It is very memorable and just makes no sense that some version of this track was not featured on Melissa or Don't Break the Oath. It is almost a criminal offense. As for "Return of the Vampire", this song was revisited the following year and no real justice was done to this original. The ominous mid-paced riffs and haunting vocals make this one of the most memorable tracks of the band's career, even including the somewhat humourous backing vocals during the chorus. One has to wonder how this would have come across if re-recorded between 1983 and 1984.
As for the other four songs, they are certainly interesting to die-hard fans of Mercyful Fate, but they fail to match the atmosphere of the Burning the Cross demo tracks. It is fascinating to hear the band's development on tape, but this earlier and less evil version is not nearly as appealing as what they would soon after become.
It goes without saying that Return of the Vampire is an essential collection for any fan of Mercyful Fate. For those that are among the few to already possess a copy of Burning the Cross, then you can dismiss this. Otherwise, if you worship albums like Melissa and Don't Break the Oath, yet have not bothered to pick this up yet, do so with haste. This is highly recommended.
(22 Apr. 2014)
In the Shadows (1993)
In the Shadows was the first studio album from Mercyful Fate, since 1984's Don't Break the Oath. Nine years had passed since this influential band parted ways and the prospect of the original line-up coming together to write music once again was something remarkable. It's quite interesting in that this album, released in June 1993, presented a very unique situation. Surely, Mercyful Fate wasn't the first band to reunite after several years. And, like many others, it would be natural to compare In the Shadows to the old albums, or to analyze how well it picked up from where the last record left off. The trouble was that a few members had already continued what they began, as King Diamond's Fatal Portrait was the true successor to Don't Break the Oath. The legacy of Mercyful Fate had already evolved into something else, with The Eye representing the final chapter in the classic period of King Diamond (the band) . Of course, In the Shadows, as fascinating of an album as it is, can't even be thought of as a follow-up to that record; the direction taken on the King Diamond albums was but one direction that this could travel, while In the Shadows represents sort of an alternate reality of what could have been, had the band remained together.
So how does one really analyze this record? It's impossible to look at it, completely, on its own. There's simply too much history involved to do such a thing. The best method is to approach the album and determine whether or not it remains true to the spirit of the band's previous output. Amazingly, the songwriting is very much in line with the style of the Mercyful Fate E.P., Melissa and Don't Break the Oath. Considering some of the projects that Hank Shermann had been involved with, since the mid-'80s, that is very impressive. It's so good to hear Denner and Shermann together again, as they really compliment one another.
The production is clear and decent enough, though not overdone like some albums from this era. For example, if they had a similar sound to Metallica's black album, it would have ruined everything. While not as raw as the early stuff, this record never comes off as being too slick or polished. The best way to describe it would be that it really does sound like an updated version of Mercyful Fate. It's not a direct continuation of the sound, but it possesses all of the primary elements and it manages to stay faithful to the spirit of the old albums, while not sounding dated. It's strange how it doesn't come off as some retro album, though it contains music that, easily, could have been released several years earlier.
Looking at the tracklist, it's clear that even songs that don't particularly appeal to me, entirely, obviously fit in. The ones that really stand out include "Egypt", "Shadows" and, naturally, "Is That You, Melissa?". Ironically, King wrote all three of these, so it would appear that the former guitarists weren't all that necessary to create some very memorable tunes, once more. These songs, alone, would be worth the cost of the CD. In "Egypt", the part from 2:33 to 2:54 is probably what really puts it over, as the song might have seemed a little average until then. Of course, "Shadows" is very memorable from beginning to end. And the real highlight has to be "Is That You, Melissa?", as it really embodies the atmosphere of the original, while being quite different. The use of the main melody from "Melissa" was very well done and added to the epic feeling conveyed by this song. The re-recorded version of "Return of the Vampire" isn't bad, but I still find myself preferring the original. I hate to support the general consensus, but the drumming of Lars Ulrich is quite detrimental to the flow of the song, when compared to the demo version.
Prior to hearing this, I remember having very low expectations for it. I even avoided the album for some time, not wanting to tarnish the mental image that I had of Mercyful Fate. However, in time, I had to give it a listen. For better or worse, my ears hungered for more from this band, so I took the chance. In the end, I would say that it was very much worth the risk, proving to be a very good reunion album. The music kept to the roots of their old classics, and even provided a few more essential tracks. Unfortunately, the band didn't know when to call it a day, and they went on to release four more albums, none of which managed to maintain the successful formula found on In the Shadows.
So how does one really analyze this record? It's impossible to look at it, completely, on its own. There's simply too much history involved to do such a thing. The best method is to approach the album and determine whether or not it remains true to the spirit of the band's previous output. Amazingly, the songwriting is very much in line with the style of the Mercyful Fate E.P., Melissa and Don't Break the Oath. Considering some of the projects that Hank Shermann had been involved with, since the mid-'80s, that is very impressive. It's so good to hear Denner and Shermann together again, as they really compliment one another.
The production is clear and decent enough, though not overdone like some albums from this era. For example, if they had a similar sound to Metallica's black album, it would have ruined everything. While not as raw as the early stuff, this record never comes off as being too slick or polished. The best way to describe it would be that it really does sound like an updated version of Mercyful Fate. It's not a direct continuation of the sound, but it possesses all of the primary elements and it manages to stay faithful to the spirit of the old albums, while not sounding dated. It's strange how it doesn't come off as some retro album, though it contains music that, easily, could have been released several years earlier.
Looking at the tracklist, it's clear that even songs that don't particularly appeal to me, entirely, obviously fit in. The ones that really stand out include "Egypt", "Shadows" and, naturally, "Is That You, Melissa?". Ironically, King wrote all three of these, so it would appear that the former guitarists weren't all that necessary to create some very memorable tunes, once more. These songs, alone, would be worth the cost of the CD. In "Egypt", the part from 2:33 to 2:54 is probably what really puts it over, as the song might have seemed a little average until then. Of course, "Shadows" is very memorable from beginning to end. And the real highlight has to be "Is That You, Melissa?", as it really embodies the atmosphere of the original, while being quite different. The use of the main melody from "Melissa" was very well done and added to the epic feeling conveyed by this song. The re-recorded version of "Return of the Vampire" isn't bad, but I still find myself preferring the original. I hate to support the general consensus, but the drumming of Lars Ulrich is quite detrimental to the flow of the song, when compared to the demo version.
Prior to hearing this, I remember having very low expectations for it. I even avoided the album for some time, not wanting to tarnish the mental image that I had of Mercyful Fate. However, in time, I had to give it a listen. For better or worse, my ears hungered for more from this band, so I took the chance. In the end, I would say that it was very much worth the risk, proving to be a very good reunion album. The music kept to the roots of their old classics, and even provided a few more essential tracks. Unfortunately, the band didn't know when to call it a day, and they went on to release four more albums, none of which managed to maintain the successful formula found on In the Shadows.
(29 July 2010)
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