Metal Blade Records - 1993
8.5/10
Following two of the most compelling metal albums of the '80s, Mercyful Fate would disband, seeing King Diamond and a few of the others form a separate band under King's stage name. About a half-decade of more classic records passed through a tweaked formula, the influence of those years would sneak into Mercyful Fate's sound after reuniting. Starting the '90s on a fresh note is always a good time. Thus, In The Shadows brings back our favorite dual-guitar duo for a refreshing look into yet another change in the band's dynamic.
By now, the overly Satanic themes and dark coatings of hellish worship take a backseat, as the record's main focus is narratives around general horror with a clear step towards more complex writing. This isn't to say you won't find your straightforward bangers or your little odes to The Evil One, but an aim at something more complex is quite noticeable. My personal favorite example would be "The Old Oak," an eight minute journey that offers up a gradual build of slow riffs crossed with pummeling drum kicks, acoustic toppings, and faster guitar layers. The vocal chants describing a spooky narrative around a tree feel far more menacing than you'd expect, however I'll admit this one probably could have been trimmed a little. Same goes for "Legend Of The Headless Rider," another strong tune that might have benefitted from the littlest bit of trimming.
However, I absolutely adore the magic in tracks like "Egypt," a haunting opener, reminding us that King Diamond and co. can still write an anthemic, choir-oriented earworm. A similar approach is taken on "Thirteen Invitations," with its minor-toned melodic ride paired to a memorable chorus and a strong ear for memorable passages. To the opposite end, "Shadows" is a beautiful marching banger with some of the best riff stomps, erupting solos, and an immaculate chorus. The placement of this next to "A Gruesome Time" allows the two to feel like a fun pair with all sorts of charm and rhythmic simplicity; as I've said before, sometimes less is more.
Across the board, In The Shadows might feel a little disjointed or a little overwhelming at times, but the direction the band was headed is executed wonderfully and clearly. The strong points here are very strong, and the lesser points are easy to overlook. A slightly more linear direction with the smallest amount of trimming would have been helpful, but I really can't complain. For the weirdos that say the '90s saw heavy metal on its deathbed, let this be one of the countless counter-examples.
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