King Diamond
Give Me Your Soul... Please
{XLII A.S. King Diamond: Vocals / Andy La Roque: Guitars / Mike Wead: Guitars / Hal Patino: Bass / Matt Thompson: Drums / Livia Zita: Additional Vocals / Jodi Zachia: Actress}
1. Dead 2. Never Ending Hill 3. Is Anybody Here? 4. Black of Night 5. Mirror Mirror 6. Cellar 7. Pictures in Red 8. Give Me Your Soul 9. Floating Head 10. Cold as Ice 11. Shapes of Black 12. Girl in the Bloody Dress 13. Moving On
Another splendid musical horror novel from King Diamond, the little girl in the bloody dress comes through the mirror, uncertain about her state of being... the introductory song "Dead" is laden with mood-setting organ, haunting voices explaining the basics of the disturbing plot, dealing with a little brother and sister who were murdered by their father, but are scheduled for different destinations "after death" - it is up to her to save him from Hell, after being accused by "the powers that be" of suicide. She reveals the true circumstances of their demise - to set the terms "right" so they may 'rest in peace' together, presumably in "Heaven", although 'demons' pine for both their 'souls' in this supernatural adventure / thriller concept album.
The album features the spectral voice of Livia Zita, whom you may recognize from 'The Puppet Master' as well, adding an enchanting compliment to the music as well as storyline. Besides the intricate Metal instrumentation, cellos and the harpsichord are included, adding an eerie feel to the brilliant orchestration.
Of particular note, My personal favorites herein are "Dead" {the 'gothic' horror instrumental}, "Give Me Your Soul" {really displays the talent and skill of the band}, "Shapes of Black" {great beat and harmony; one can actually relate to these occurrences, environment, and denizens}, "Cold As Ice" {the cold temperature in the dark room even in remmus}, "Girl In The Bloody Dress" {the rhythms and correlations of voices}, and "Moving On" {the hypnotically-melancholy quality and voice combinations} .
The aesthetics are predictably wonderfully ornate, of course featuring the band, and one Magic, King's black cat familiar, perceiving the ghost as familiars are said to sense. It was also gratifying to see the band dressed in black robes within, each signalling the Cornu, adding a most evocatively mystical impression. King promises a Hell of a show to accompany this chapter as well, repleat with horror psychodrama.
Overall, Give Me Your Soul... Please is definitely one of King's best.
Rating: 5/5.
[I N T E R V I E W]
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King Diamond
The Puppet Master
Dancing puppets that look too grotesquely real take the stage; they are world-renowned for their performances - and even when the silvery strings fall about the skin puppets and keep on dancing, the audience still does not suspect that real Magic is the reason for their automation, but instead assume some trickery or prestidigitation.; but two know - King and his girlfriend Victoria. From thereon, they are selected by the Puppet Master to become the next to view the show. And this is accomplished in a most morbid ritual to be explained herein. Take heed, lest you lock eyes with that deadened stare...
King returns in both sonic and visual form, this time around with a DVD included with the CD in a very attractive casing hewn in black and shimmering silver.
* DVD: Dim the lights, the presentation is about to begin - King sits at a table bedecked with black candles and an elaborate copy of Necronomicon amongst a goat skull and crystal ball. An inverse cross around his neck, the storm grows, as he elaborates upon the tragic tale, his eyes shining in the gloom. his signature demonic face paint glows in the candlelight; the somber voices recount the horrific events with sound effects accentuating the chapters of the story which are the songs in this musickal novel.
Perhaps this is a welcomed transition into the motion picture genre, as each opus could quite easily be produced into horror films. It would also be a wonderful option to include such an entirely complete package in subsequent releases inclusve of videos of the songs.
* CD: The Musick is as intense as ever - another virtual masterpiece, this time adding a female voice to the mix, who plays Victoria. Of particular mention, is the song "Christmas", which includes an olde xmas tune of 'The Little Drummer Boy', which was part of the puppet show, and adds a seasonal touch quite nicely., and will probably be played now along with 'No Presents For Christmas' for the Yuletide.
The timelessness of King Diamond's cantibles. being the Musickal Magician that he is, is a wonderful addition to one's Noctuary Chambre repertoire, and is certainly a 'coffin collectible'. Once again, and it is well deserved, two horns in the air with a Hail King! HAIL SATAN.
5/5 Goat Skulls.
Abigail II: The Revenge
King Diamond
The continuation of the classic year XXII release, bearing some simularities to the film "The Haunting".
Miriam is all grown up now, & returns to the Mansion in the dark, where Jonathan LeFey awaits in his wheelchair by the window, cane in hand. The avatar has returned, for Abigail would possess no other. The kinder poltergeist seeks revenge for all of the abuse she sustained in her past, circa 1777.
A brief reference to another opus is provided, when deciding which name to use to refer to Miriam - "Miriam, Abigail, you can even call me Missy, for it is just a name." And Jonathan is eager to procreate an heir with the newly-arrived Miriam - & he takes his pleasure any way he can - she is raped. Abigail's ghostly voice echoes throughout the haunted manse which light has not penetrated, save for the softly flickering burning candle-light upon the wicks of black candles.
Eventually, events build unto an insane crecendo, where Jonathan finally receives his come-uppance when Mirriam poisons him, then sets him on fire in his wheelchair, laughing cruelly. No, the LeFeys are not a balanced lot, they.
Probably the most disturbing scene in this opus is the 13th cantible, wherein a flashback to little Abigail's incarceration in the dank cellar, to which she cries, begs, & pleads for release, to which a sadistic voice booms forth, "Sorry Dear". And a few moments later, Abigail aknowledges that she actually likes the darkness - perhaps a subtle Infernal Progeny realization.
King Diamond's last couple albums have been themed / focused primarily on child-abuse issues {see "The Graveyard" review below}, although this time around, separate actors' voices were brought in along with the accentuating gaffing effects, poignantly accenting the distinctive KD style of the musickal novel.
The inevitable question would be asked, "Is Abigail I better than II?" In My opinion, these are completely different opuses after all - II was not intended to mock part I - as they are entities unto themselves. Both have their particular charms for various reasons. In other words, one is not better than the other - they are merely different.
The artwork is splendid, as is KD / MF de-regeur. Miriam stands at the black wrought-iron gate of the mansion in darkness - alive on its own - as a mummified toddler ambles up to her, holding a lantern to ignite the accursed course.
"......Amen......"
Sounds like the very heart of Hell itself, compounded with a wonderfully morbid chanting, growing unto a crecendo, until a demonic voice enters in to set the story.
And so begins another chapter in the musickal anthology of King DIamond. On this forboding journey, we sink deep into the realms of alexithymic dementia.
A madman can't decide between God or the Devil. This premise is exemplified by King Diamond's current frightmask configuration - inverted & upright crosses - total confusion.
The base premise rests in the foundation of The Dead Sea Scrolls, which tell a tale of jeezwiz being rescued from the cross to fornicate with Mary Magdalene {the angel}, & travel throughout the world spreading the whiteplague withersoever he goes. All of this, of course, with that unique King Diamond twist.
Whispering trees, abyssal vortexes, a guiding wolf, are only some of the characters & occurances in this, another superb tale.
Of note, I found "Goodbye", a particularly moving piece - a morose & pathos-inducing ballad.
The musick here is fast & furious at times, always melodic, always heavy, always dramatic, always ritualistic.
I also enjoyed the white-marble look to the cover, a classy touch {which KD albums tend to be}, & because of the subject matter, is reminiscient of the "heavenly realm". The unmasked nazarene monster {"...the TRUE Prince of evil, the king of the slaves..." Satan 1:6}, grins in a wide rictus, crowned in thorns & blank-eyed, the holy demon.
"House of God" is yet another magnificent work to ponder, to enjoy, to head bang to.
The Devil does not tire, basking in the fire. Sound the hellish choir, to you, joy or ire..."
- DB
King Diamond
Fatal PortraitThis classic release starts King Diamond's solo career. 'Fatal Portrait is thrust-through with splendrous organ orchestration, providing for a most mystical ambience, & greatly accentuated the stories told therein.
The cover is adorned with the site of a 'witch' either burning for her sorcery, or consumed in the fire of her lust. However, being that King Diamond tackles the olde-world problem of xian persecution upon their natural superiors, it is probably the former.
On the inner sleeve, KD Himself adorns therein, appearing as if from the distant past, bedecked with pentagrams & inverse crosses, & grasping a goatskull.
The songs deal with torment, insanity, curses, superstitions, & ghosts. Always an intriguing combination!
My favorite piece has to be "Halloween", always desirable all year 'round {"Every night is Halloween..."}
There's an instrumental called "From Out Of The Past", which is delightfully eerie in & of itself.
'The Jonah' speaks of the Cornu Curse unleashed upon sailors, sometimes one to another.
'Fatal Portrait' is very well entertaining & haunting, & comes off as a morbid novel on tape set to musick, with KD as narrator, story-teller, vox artist, actor, backed by his minstrels.
As usual, enter in the timewarp, & be transported to the horrible, & all-too true past.
Mercyful Fate
Dead Again
Ten more tracks of blissful madness from the master of Macabre Metal. The cover depicts a morbid collage of the diabolical tales told therein. The King does not disappoint.
'Torture {1629}' is reminiscent of 'The Eye' in its thematic purpose - lest the blindlighters forget their bloody history.
'Since Forever' is a tragically romantic piece that really delivers the pain.
'Banshee' could very well be an autobiographical song for King. It speaks of the specter who would appear at the window of some unfortunate soul, portending death for the inhabitants.....
'Mandrake' speaks of the 'Devil's Root', which is meant to either destroy enemies, or capture a desired lover, because of its resemblance to the human form.....
'Sucking Your Blood' is the vampyric song here. Remember, please leave those windows unhinged!
'Dead Again' goes deep into King's murky madness. Somebody's been staring at the moon too long again I see...
'Crossroads' speaks of the original incarnation of the Dianic legend.....as the Huntress. This song invokes the names of several Dark Goddesses, as an ode to Female deities.
Overall, another splendid work by Rex Diadem.
Mercyful Fate
Musick at 100 mph, sudden drops & changes, special effects to accentuate the sonic experience, it's just Black Heaven!
I particularly enjoyed "Kiss The Demon", which resembles some vampyric practices that I have come across.
'The Grave' seems to mock black sheep-types, in "bring your sacrifice..." to the graveyard, for desacration, intoxication, & fornication!
'Church of St. Anne' is a moving piece which carries some evocative aspects. It also speaks of a priest getting stoned by his own parishoners.
'House on the Hill' sounds very familiar, actually. The classic haunted house scenario done with eager anticipation.
"...I don't believe in heaven, I don't believe in Hell, so save your god for someone else, or save him for yourself..."
MERCYFUL FATE
In The Shadows
Heeeee's Baaa-aaaack! Yes, that morbid metalist & fellow Satanist, King Diamond once again has arisen, & resurrects Mercyful Fate with him! The banshee wailing in the night, carrying death as a harbinger of doom!
Upon surveying the cover, we have a collage of all the songs within, represented in artistic form in a painting, which Melissa stands observing. It is a beautiful & classy cover.
EGYPT pays homage to the mighty gods of that enchanted land with the bewitching history, where King invokes Anubis, "Eater of the Dead", that his soul may make it to Airu - Egyptian heaven.
THE OLD OAK is the hanging tree, with its background of death, pain, & blood. Where many met their demise within the hangman's noose, & also where sacrifices were offered to American native gods. The mesmerizing effects of the old oak can still be experienced, but only by the most stable persons, for it drives the common man self-destructively insane. The song has several changes, & is wonderfully lengthy, to help one transcend into dementia. SHADOWS is My personal favorite. I feel that many Satanists will relate to it on a profound level. We who dwell as fearsome creatures, in the Darkness, with glowing eyes & black hearts, ever ready to pounce upon our prey...
A GRUESOME TIME speaks of the ghosts at the back of one's mind, those skeletons in the coffin that people refuse to acknowledge, for fear of losing their "sanity".
THIRTEEN INVITATIONS is a classic of occult lore, that eternal quest for immortality, invoking the dark powers of the devil. This particular plot line deals with a card game with SATAN Himself, for the benefit of receiving the fabled AMON mansion, where Melissa perished at the hands of the diabolical forces controlled by King's Grandma in the THEM & CONSPIRACY albums.
ROOM OF GOLDEN AIR is a beautiful instrumental piece that sends the consciousness adrift.
LEGEND OF THE HEADLESS RIDER is King's rendition of The Legend Of Sleepy Hollow, where a decapitated madman roams the countryside in search for his head, but ends up finding others' instead, thus trapping the souls of his victims within their own rotting shells, until the next Halloween. Lengthy enough to get you wrapped up into the storyline, & encounter the grotesque one himself.
IS THAT YOU, MELISSA? is part two of the classic MELISSA release. King's continuous quest to relocate the soul of his deceased sister at the old house, & his lamentations persist. This song demonstrates the musical eclecticity of the band, by using a harpsichord, which produces a memorable melody, in the chorus.
RETURN OF THE VAMPIRE is a remake from the rare release by the same name. Here, we have a special guest drummer, LARS ULRICH, for all you Metallica fans. The vampires fly the night, ever seeking the blood of those who would be willing to share, & thus become part of the mighty dark kingdom, & the legions of the night.
When you pick up this incredible ghoulish feast of musical indulgence, prepare yourself for quite a devilish ride! It is long enough to make you feel like you're in a darkened movie theatre on horror night, as do all of his opuses.
Mercyful Fate
Live In Florida / In The Shadows Tour / VHS Video>
The Right Choice 40-19 164th St., Flushing, NY 11358
King Diamond leers from the cover, the same picture from the inside of 'In The Shadows'. On the back, one from a previously unseen photo shoot, no doubt, displaying the rest of the band.
This is a bootleg shot in Florida, circa XXIX A.S. I received this copy some two years ago, so you may wish to do some searching. So now you know that it exists. Try the above address for availability.
KD performs approximamtely 13 songs in about 1 1/2 hours.
The night begins with organ chords cutting through the tense & excitable atmosphere. An inverse cross illuminates alone in the darkness, with fog drifting by its glow.....
The musicians take their places in shadow. The lights flash on as the musick explodes, with KD materializing & displaying the Cornu Salute, & urging the audience to roar louder, as if to wake the dead from their morbid slumber.
Two screens flank the stage, upon which are projected a variety of diabolical images. From fanciful inverse crosses, a round Ouija Board, The Sabbatic Goat, to a drawing of a Cornu salute, Baphomet {during "Satan's Fall" --- all 12 minutes!}, a picture of a darkened little girl {Abigail --- "the little 'monster-bitch'" KD}, the cover of "Don't Break The Oath", & the Mercyful Fate logo. All accentuate the cantibles marvelously, & add that wonderfully enchanting theatrical climate which more perfectly manages to manifest the King Diamond experience.
At one point, KD even descends to personally salute his fans in the front. At the end, he even performs an encore, at the beckoning of the whole hall. A true showman.
This is still only a small glimpse into the KD ritual, so make sure you don't miss him when he rides into your side of the woods.
View the cover by clicking here!
MERCYFUL FATE
Time
Clad in trench coat & top hat, the specter of King Diamond returns again, to drive his fans insane with chords of madness, & arcane lyrics sung in ghostly rapture. TIME gives us a witch's brew of eclectic ingredients, which are the morbid tales which float through our darkened chambers.
A skull glowers from the shadows at us. The lyrical banshee spins & recounts lost stories that stretch forth across the ages. One of the more admirable elements King conjures, besides the music itself, is the usage of forgotten historical events that transpired in those olden days of superstition. He investigates what has become occult from memory, & gives it new life by putting it to song. A true artist.
TIME contains eleven splendid tracks which makes one feel like one is sitting "round a balefire under the full moon in the forest, listening to the haunting metal sounds of the night.
MERCYFUL FATE
Into The Unknown
Standing atop a cliff's edge, looking off into the sunset towards a strange place, wondering what lies beyond...
The time has come. Now, it's into the unknown...
Your pulse quickens, your stomach turns. Your sight becomes a haze, as cold sweat ebbs from your skin. Your mind spins, as a vortex pulling you deep inside, & the eerie, whispering voices beckon you closer. You feel faint, & begin to fall forward. When all of a sudden, you feel yourself floating on air, drifting ever nearer to the swirling anubis. The chanting of the voices becomes louder, then turns to hideous laughter. You try to fight, but it is too late ----- you are within the Abyss.........
What awaits you inside is for you to personally experience. It will suffice to say, that this is some of the best musick King Diamond has yet invoked, & he really gives the Evil Gods their due. Buy it at your own peril. See you in the unknown...
KING DIAMOND
The Spider's Lullabye
Arachnophobes beware! The eight-legged horrors are coming through the walls, up from the faucets, out from under the bed, from behind your computer, above your head, crawling about your feet, & scurrying in your clothes! They are hiding in your shoes, & in your dresser-drawer! Feel the sticky cobwebs entangling in your hair, & wrapping around your face, getting in your mouth, your eyes, your nose! But hold on, there are SPIDERS in those webs! Feel them prancing on your skin, scurrying for a place to lay their eggs! OUCH! One bite after another, eating you alive!
As usual, the music is masterfully executed, to King Diamond standards, & the eight-legged one on the cover is in the process of constructing another one of those natural masterpieces that is timelessly appreciated. Most people don't know how to even make paper cut-outs! The spider's spinning sounds were nicely done on the guitar. It really brings the picture alive.
But that's not all of what THE SPIDER'S LULLABYE is about, no. True to King Diamond style, there's a poltergeist, a killer, & much more terror to tickle your fancy. There is only a trilogy of related songs herein, but those three lethal tunes are the dread of the spider-fearing. It's about time the spider got his due.
KING DIAMOND
The Graveyard
Something else has arisen from the morbid catacombe that is King Diamond's skull, now crowned with a tophat. In "The Graveyard", King has reached a new level of insanity, unlike anything he has demonstrated before. The theme of this monsterpiece deals with the kidnap & abuse of little Lucy, a "Mayor MacKenzie", who is her tormentor, & King as a lunatic {not a far stretch ----- indeed, the role seems to come naturally for him}, who escapes from "Black Hill Sanitarium" to rescue her from the despicable MacKenzie, who attempted to place all the blame of her abuse upon him, thus, the framework. Another tragic tale from the King of Macabre Metal. Another shock to the soul to place things in perspective, & force further consideration.
The music is as erratic as it is organized. It seems to be a paradox, in that unique King Diamond style. Chaos, yet not without order. There is much keyboard work here, that sets the eerie embiance afloat. Once again, the experience of King Diamond is manifest, & as much as you can expect to encounter, so there is that which is unforseen.
"The Graveyard" deals with the issue of abuse upon children, translated through the gothic imagination, utilizing metaphor & psychodrama, staged through a horror-genre setting. In short, Shadowmancy. As usual, King Diamond walks between the worlds of fantasy & reality, that lurker in the shadows, that voice from the darkside. And like Satan, the accuser & tormentor to some, & a brother & comrade to others. And like all true Satanists, is the personafication of Satan.
The elegant cover & band photo was supplied by the photographic talent of Chris Estes, who also happens to be the bass guitarist. Quite a nice premiere.
Plans to publish the "Them/Conspiracy" tales, "The Spider's Lullabye", & now, "The Graveyard" novels in book form, are still in the process.
Hail King! Hail Satan!
VOODOO
The house on the hill emminates an eeriness beyond description. It is felt twisting at the very soul. Walking amongst the sounds of night creatures surrounding the swamp, with the grarled roots of trees slithering like the resident snakes infesting the dark slimey waters of the bog. Dead husks of wood bark glow with unholy ghostly flames. Nearby, a shadowy figure treads the dampened grounds, holding a bag of unspeakable contents. He lurches towards the cemetary, his shadow stretching forth in the moonlight to work his wicked deeds, to raise & victimize the dead. In the dead of the evening gusts, strange whispers float out across the tombstones.
Steadily, they grow louder, and louder, & LOUDER....."Voodoo! Voodoo! VOODOO!" The chanting becomes deafening, arising from within your head, encompassing your entire being. You mind is trapped within a soul-less body. You are commanded to adhere to the will of the Witch-Doctor. You never thought this could happen to you, but now, you are the very evidence, the very walking embodiment of your fear & doubt. To your horror, only one word echoes throughout your rotting skull ----- VOODOO!
Get this video and more at MySpace.comTHE BLACK EARTH
IV/XXIV/XXXIII A.S. The Grenada Theatre, Ontario, CA, Friday 7:30 pm
"It was a dark & stormy night..." to quote a classic cliche' that is a most appropriate description of this Friday evening. The sky resembled what would be portrayed on a King Diamond album. As a matter of fact, it was identical to that presented on the latest "VOODOO" release, with the blue, grey, & blackened hues.
The Grenada Theatre is an old-fashioned theatre , reminiscient of a gradeschool auditorium. So it carried an evocative charm. The Concert/Ceremony was originally to be held at The Showcase Theatre in Corona, but last minute considerations were made wisely, for a larger stage in which to fit the ritualistic accouterments.
These props were present during the opening acts, but they did not come alive until King materialized on stage later on.
There were four opening acts, but the only ones worth mentioning are "Intertwined" & "Pitbull Daycare".
Intertwined are a fousome with a considerable talent, & aethetically, what you would expect a Death/Thrash Metal band to look like. The most interesting character was the vocalist, with black make-up under the eyes, & an arrow descending down from under his chin, to about mid-torso. He appeared as a, "evil jesus", with a beard that pointed out like two spikes at the chin, resembling Rex Church's somewhat.
There was one particular song that was their best, that lasted approximately 8-10 minutes, in which the vocals alternated from a high shrill, to the deeper, more bestial, which greatly complimented the bass guitar & drums.
At times, the lead guitars sounded like infernal sirens billowing up from an underworld of their own creation.
There were moments when they wer in such sync, when that certain adrenalyn-inducing sybiosis is attained, that causes a euphoric stimuli.
Overall, Intertwined is a welcomed addition to the plethora of the Death/Thrash Underground.
Just before King, we are treated with something different, in a somewhat Electric Hellfire Club vibe. Although the beat was rather monotonous, the aesthetic presentation was pleasing to the eye. There was much strobing. The performers had variations opf mohawks. The vocalist wore a pentagram, which was a change from the usual suspects you would expect to see sporting one, unless you've frequented EHC concerts, that is.
They have a certain 'dancer', who bounces about with rather interesting movements, & poses.
The performance could be compared to a Metal/Industrial/skater composit, overall.
What I especially appreciated however, as I later told two of their members, were the vocalist's concluding statements of "...we reject jesus x, & exhault the name of Satan..."
We can see, this is a relatively new variation of Satanic Music & performers. Indeed, Satan spreads His influence throughout a multitude of genres.
At about 11:18, the lights dimmed, & the darkness came alive with the presence of King Diamond's Satanic Being. I could actually feel the psychic proliferation of His Mind overshadowing the theatre.
The musicians took their places at the right & left of the platform, which was transforming into a theatre of nightmares.
Flanking the stage, were two black iron-gated entryways, enscribed with the word VOODOO, which glowed ominously in the darkness. Fog permeated the place, alluding to a dark & hazy dream.
Suddenly, the strains of an organ blasted through the room, like a diabolical altar-call.
The King Diamond logo high above the drumset, also, took on an etheric countenance in the fog.
King came out pushing Grandma {from "Them" & "Conspiracy"}, during "The Invisible Guests", in a wheelchair. A hideous crone with long white-hair, & carrying a cane, which she would point out at the audience, & whose head would shake in a Parkinson's addled decrepidness.
In other songs, King enacts situations with an incredible acting talent.
During "The Trial", a hooded executioner carries out a struggling beauty, Jeanne Dibasson, & ties her to a stake at center stage to be burned to death. Fog & red lighting was used for this, causing a most convincing effect, & without the stench.
During "Voodoo", the beautious Sarah has become zombified, & dances for King's pleasure to the beat of distant drums.
For "Up From The Grave", King digs up little Lucy from her grave, that she may breathe again...
In "Unclean Spirits", King plays an exorcist battling evil demons with an ornate crucifix; the Cross of Baron Zamedi.
For Me, the most moving performance of the night was for the song, "The Candle" from Fatal Portrait. During the enchanted & uplifting intro, King stood amidst the darkness holding a candle, seemingly communicating with the flame...
During "Abigail", King pulled Abigail from out of a pregnant girl's oraphice.
He performed two encores. The first, from Mercyful Fate's "Don't Break The Oath", Come To The Sabbath, & the second, from the Fatal Portrait album, "HALLOWEEN".
For every show, King Diamond brings the audience into his dark & morbid world. Into another dimension entirely. The place becomes a time machine, as one travels with Him into the past & present of horriffic historical reality, & even the fictional stories come alive in three-dimensional splendor.
King Diamond is a phenominon, merging the theatrickal with the Musickal, without compromising His beliefs or stage persona one bit.
If you haven't experienced a KD show yet, you have been really missing out on an enigma that surpasses & trancends all catagorization.
The resultant feling is that of a Magical Working. One's emotions are stimulated & exhausted. One is entertained, fascinated, & inspired.
There is hardly anything that compares to this AMAZING psychodrama.
Musickally, KD runs circles around just about every band in whatever genre.
Aesthetickally, KD is a true showman, maximizing the experience to the utmost. A truly incredible spectacle.
Lyrickally, King's penchant for story-telling will take you though worlds of bewitchment & wonder, hungering for more. I am eager to read His books when they are released "sometime next year", I was told.
On & off stage, King Diamond is a true Satanist in every sense of the word.
King Diamond, as a member of The Church of Satan, I am proud to call Myself a fellow Citizen of the Infernal Empire.
HAIL KING DIAMOND! HAIL SATAN!
More King Diamond & Mercyful Fate reviews to come...
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KING DIAMOND RELEASES
NEXT REVIEW: THE ELECTRIC HELLFIRE CLUB
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