King Diamond
Them

THE REVIEW

"Them", the third solo work by King Diamond, is undoubtedly one of the most unsettling metal works ever conceived, certainly one of the most complex and ambitious projects by him which unfolds in two parts (the sequel being "Conspiracy"), brilliant in both lyrics and music, a blend of genuine, brilliant classy heavy metal, sinister and catchy, powerful and ominous.

King Diamond, once again accompanied by faithful and always inspired Andy LaRocque and the usual steamroller Mikkey Dee, replaces Timi Hansen from the previous "Abigail" with Hal Patino on bass and Michael Denner with Pete Blakk, forming what is probably one of the most technically proficient line-ups of his solo career.

Once again darkness, mystery, and psychological dramas are the core of the chilling perhaps autobiographical plot that masterfully accompanies the melodic lines of various moments of the record, creating an inseparable unity with a powerful emotional impact and rare charm. Yet another demonstration of his skill in creating masterpieces on all fronts, both compositional and lyrical.

The protagonist of the macabre story around which Them revolves this time is King, a young boy, and the strange events that unfold following the return home of his grandmother, a wicked hag just released from an asylum for unspecified mental issues. The disturbing "Out From The Asylum" in this respect immediately creates a chilling atmosphere made even more somber by the voice of a seemingly possessed King Diamond. Of course, the grandmother's mental issues are far from healed as, once home (the seismic and thunderous "Welcome Home"), she continues to converse with dark and malevolent invisible presences that possess her, guide her, enslave her. "The Invisible Guest", in this regard, with a massive riff, a decidedly jagged groove thanks to its rhythm changes, and the usual clever blend of majestically sinister solos, is a gem of compositional balance and wisdom.

But back to the story. Every evening, to pay homage to them ("Them" being the title of the LP) Grandma prepares them tea by adding human blood, which she draws while the young King and his mother sleep. The malicious "Thea" with its venomous gait, the very intriguing refrain thanks to the falsetto, and the well-rounded central break deliver yet another metal blow to the listener. The reckless ritual must be perpetuated and cannot be stopped, thus relentlessly more innocent blood is spilled. Indeed, Missy, King’s sister, notices the horrific practice and tries to stop it. In vain. The grandmother, possessed by spirits, mercilessly kills her ("Mother’s Getting Weaker" and "Bye Bye Missy"). Luckily, King manages to escape somehow. The sacrificial practice can no longer continue ("A Broken Spell"). King then alerts the police and is taken into custody by a certain Dr. Landau, a psychologist, to whom he narrates the story. "The Accusation Chair" and the subsequent dark instrumental "Them" perfectly frame King's spectral tale and his worst nightmares, his distressing psychodrama that sinuously and inevitably takes shape.

Clearly, Landau does not believe him at all, indeed he seriously thinks King has severe mental problems and decides to commit him to an asylum (the same one where his grandmother had previously been held) where he remains for 9 years (the spectral and distressing "Twilight Symphony"). When he gets out, his brain devastated by medications and such, haunting visions of the past slowly reemerge, taking on increasingly vivid contours over time until, after another 9 years, a phone call from the grandmother he believed dead and deeply hated shocks him, almost paralyzing him. "Phone Call", with Diamond's voice chillingly mimicking the grandmother, is applause-worthy: a cold hand trailing down the spine.

In short, once again King Diamond succeeds in delivering an incredible high-level concept album, tight and without any dips in inspiration - stunning already from the cover - where he transforms all his horror nightmares into music, also thanks to the skill of Pete Blakk and LaRoque, who provide a superb performance and co-write half of the tracks on the record with the singer, and thanks to the usual effective vocal tricks, such as the deftly measured sinister whispering and croaking, now his unmistakable trademark alongside the falsetto. Yet another long journey into the sick mind of a metal songwriter blessed with undoubtedly the most vivid imagination amidst creaking doors, nervously hammered out-of-tune pianos, mysterious gusts of wind, mighty mincemeat-like rhythm sections, voices from beyond that terrorize, and solos like axes lying in wait in the dark for their next victim.

To the next nightmare!

See Ya!