Roadrunner Records - 1990
8.5/10
As King Diamond reached the start of the century's final decade, he would begin tampering with the idea of returning to Mercyful Fate, in a move that would culminate influence from both projects. Before that could commence, one more concept record under the solo banner would hit the scenes, the last of which I would call the classic era of either band. Having struck an incredible balance between raw aggression and theatrics with Conspiracy, the next album would push forward with a similar balance. Titled "The Eye", we're also treated to a first-person narrative told through the lens of a necklace from the French Inquisition, giving it a little "based on a true story" flare.
Brought also from the previous duo of albums is the general feeling of insanity and helplessness, as the songs aim to capture an unsettling feeling of abuse, torture and mind control. You can expect chants paired with marching rhythms that carry some heavy theatrics, perhaps a record that's a little more direct with its story. "The Trial (Chambre ardent)" is the most obvious example, cooking this with dramatic changes in speed and rhythm. The drum opener of "Into The Convent" is an explosive lead into one of the most panic-stricken tracks on the album, working the impending feeling of doom with synth layers over clear vocals. This general feeling is a recurring sound that reaches its climax near the end, tapping into the helpless aspect wonderfully on "1642 Imprisonment," which is preceded by the false-safety of a beautiful instrumental known as "Insanity." The melody in that chorus is still so catchy, and "Behind These Walls" also pushes this momentum forward, topped with some exceptional harpsichord work.
Despite all of these garnishes, "The Eye" still feels stripped down strictly in its musical bottom. "Burn" is a fast-chugger that stresses several different vocal techniques over otherwise mean and hostile riffing to pair with the gallop, leaving plenty of room for melody. Despite the crawling chorus, "The Meetings" surrounds it with signature crushing chops, and a strong solo. The entire record has this general foundation, it just takes more digging on some songs than others, and these more direct ones help break things up neatly.
It may be quick to call this record underrated, but it seems anyone that grasps it holds it in just as high a regard as I, so perhaps overlooked may be more accurate. Having to sit between King Diamond's biggest records and the reforming of his former band would be a tough place to land, but the best is made of the situation. A slight changes in an already established direction worked wonders, and if nothing else, this might have the most drastic space between raw production and obvious theatrics. The real ones know what I mean, and if you don't, go figure it out!
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