King Diamond
Abigail II: The Revenge

THE REVIEW

King Diamond. The King. One of the best examples of devotion to his own art and genre. Anyone familiar with any of his works knows exactly what to expect. A flag bearer of an exclusive and essential sound (currently unrivaled), the historical leader of Mercyful Fate decides, having practically achieved all the ambitious goals he set for himself, to once again challenge public opinion by revisiting one of the most beautiful concepts in musical history: Abigail, the esoteric in service of the psyche.

It is 2002, and fifteen years have passed since that brilliance. While it is true that the Danish King has never denied his faith, stubbornly offering a passionate Heavy Metal, traditionalist in many ways, one might easily speculate that a bombastic title like “Abigail II - The Revenge” hides a cleverly orchestrated financial ploy. Fortunately, this is not the case, as the thirteen pieces included here manage, almost entirely, to stand up to the beloved cornerstone, still topping the popularity charts of many fans (including myself).

Starting from “Spare This Life” (a chilling intro with keyboards, dark sounds, and sinister voices worthy of a horror film) to the mournful cry of the closing “Sorry Dear”, the gloomy and spectral atmospheres that represent King Diamond's trademark are splendidly recreated. And so there are winning melodies, rich and corrosive guitars (fantastic solos by the Andy LaRocques/Mike Wead duo), a rhythm section always up to the task composed of Hal Patino on bass and Matt Thompson on drums; in this context stands the superb voice of the King which, despite the passing years, not only shows no sign of wear, but on the contrary, amazes more every day for its innate adaptability to various registers.

There is no room for proper ballads, only a mass of roaring and massive metal delivered to the listener with naturalness and mastery; a true training in Heavy Metal, capable of refreshing the abundance of the past without making us live on lonely and pathetic nostalgic reminiscences. Songs like the swift “The Storm”, the magnificent choirs of “The Wheelchair”, the breathtaking mid-tempo of “Mansion In Sorrow” or the wild cards “Miriam” and “Spirits” demonstrate how Heavy Metal does not necessarily need to be adorned with elaborate symphonic structures to appear, today, with all its proverbial energy.

Another great album by King Diamond. Listening to it and paying homage is the least one can do.