Album Review: Mercyful Fate - Into The Unknown

Mercyful Fate - Into The Unknown

Metal Blade Records - 1996

7/10

At this point, King Diamond would be balancing his time between the solo career and Mercyful Fate full-time, with the first half of the decade seeing a lot of emphasis on the latter. Thus, it only makes sense that the second half would force Fate into sharing the spotlight. Regardless, that didn't stop the Denner/Sherman duo from returning with King quickly enough to give us a third record in the reunion era, surpassing the output from the classic run in terms of full-lengths. Following arguably the greatest record put out between either project outside of the 1980s, Into The Unknown had a hell of a pair of shoes to fill.

Stylistically, we don't see it divorced too much from the two prior records, however it did let go of the spookier, haunting, and eerie aura that coated most of the songs on Time. On the other hand, it does feel more swift than In The Shadows, finished off with a smoother surface that allows the instrumentation to fall into place nicely when backing the signature vocals. You could conclude that an identity helps it stand out, however I would be lying if I said the songwriting really held onto the momentum we've seen thus far. There isn't a lot to complain about, but I do think that the use of repetition is a bit underwhelming this go around. Moreover, a few songs like closer "Kutulu (The Mad Arab, Part II)" and "Listen To The Bell" sound a bit tired in delivery, with a step down in vocal presentation. The title track was also a little underwhelming, meant to be the long(er) centerpiece that doesn't doo too much, a fate some other tunes share.

If there is something that Into The Unknown has strength in, it's the ability to utilize a fiercer assault in terms of the riffs. "The Uninvited Guest" whips out one of the hardest openers the band has ever used, and I also love the aggressive center of "Fifteen Men (And A Bottle Of Rum)." Songs like the latter admittedly rely a bit on the element of fun, as at times it can feel a little campy, but the lyrics and the bassy outro on that are very memorable. You could probably make the same argument for "The Ghost Of Change," one that I'll never deny classic status with its catchy chorus and beautiful execution. Hell, I'll even bat for the catchy chorus and fun flow of "Holy Water," once again leaning on being fun rather than being objectively strong.

Perhaps this is a record I find myself returning to less often than others, as some of the magic that made the band great is void. However, I do think it has its own little charms, and revisiting it is still an enjoyable time. A little more direction absolutely would have done wonders for it, and tweaking the formula some more likely would have added greater flavor. It's a decent record that feels flat sometimes but is helped with a few tracks to make it serviceable enough. Had King not been balancing two full-time projects that he's the front-man in, it may have allowed room for that focus. I recall this era in the solo career also being rather botched as well.

Album Review: Mercyful Fate - Time

Mercyful Fate - Time

Metal Blade Records - 1994

9.5/10

Just a year following the band's reunion, Mercyful Fate would return to let us know that they were here to stay, at least for a while. In The Shadows showed the band rake in some of the King Diamond solo flare, which Time would then expand upon. Giving just the littlest bit of direction can do wonders for the flow of a record, and this is a solid case study of making a good idea into a great one. Utilizing a similar guide, the Nordic quintet would do exactly what was needed in order do tighten some loose ends, sharpen the production, and trim some fat.

Immediately and until the end, the cleaner delivery flexes its muscles through King's butter-smooth vocal delivery and the Denner-Sherman guitar attacks, allowing no room for rigidity in construction. The shifts between tempos never feel awkward, and the album as a whole is paced really nicely. Moreover, the softer edges with an eerie backdrop that we got on Melissa makes a small appearance, just in a less damning and swift manner; it's more of a side serving this time, rather than the main draw of the record. Yet, the melodies and catchy licks don't go anywhere, somewhat reimagining that welcoming trap into what feels like a horror movie in musical format.

If there was a crown example, it would be the opener "Nightmare Be Thy Name," with its welcoming intro that bends into a gruesome, galloping banger with howling, catchy vocal passages. A more overlooked one in my opinion is "Witches Dance," caking on a ghostly aura in the backing vocals, while utilizing the keyboards wonderfully in the bridge. Those minor tones in the opening of this track send a chill down my spine. Achieving the same effect are songs that whip out a doom metal foundation from end to end, something that rarely lasts for entire Mercyful Fate tracks. The title track works as a doom/acoustic ballad that morphs into a feeling of insanity with its harpsichord and breezy delivery. On the other hand, "The Mad Arab" pairs heavy, slow riffage to screeching leads and possessing vocal techniques that still feel poetic.

That's really one of the kickers overall; everything feels intentional, with convincing narratives and various directions that fit together like a puzzle. Time fills many of the cracks in with straightforward tunes that make a similar impression without the bells and whistles. "Angel Of Light" is a personal favorite of mine, with zero frills, still loaded with some of the best riffs the band has conjured up, and a beautiful solo that amps up the intensity. In a similar vein, "The Preacher" brings on more intensity with pummeling drum rolls and a meaner snarl to what would otherwise be smooth heavy metal banger. Closer "Castillo Del Mortes" seals things off by utilizing a little bit of everything mentioned, leaving a nice impression with the album's only needed long(er) tune.

All in all, the second album following Mercyful Fate's reunion would see a full realization of the potential from the first. Ghostly ideas and haunting glamor under a very clean umbrella came back without anything extra to hold it under for too long. The pacing, the atmosphere, and the overall execution is truly fantastic, with advanced songwriting and stellar licks hooking the listener easily. As I like to say, In The Shadows walked so that Time could run.