King Diamond
Voodoo

THE REVIEW

In 1998, Kim Bendix Petersen, known as "King Diamond", released "Voodoo", a rebirth album in many respects. While the latter half of the '80s brought the king success and acclaim almost everywhere, thanks to the first five formidable albums of his solo career, the '90s were certainly not as kind. It was a decade that began poorly for classic metal, overshadowed by new grunge sensations and the universal rise of an alternative rock filled with various crossovers. It was a decade that saw our good King doubling his commitments by thawing out old teammates "Mercyful Fate" for a handful of albums that were not always up to par. The split with Roadrunner brought a slight wind of crisis to the Diamond household, which, only after five years from the excellent "The Eye" (1990), would return to record an album together with laRoque and company. Very little, considering that in the previous five-year period, there were five (great) albums in five years. A period of pause then, legitimate and deserved if we want. "The Spider Lullaby" (1995) followed by "The Graveyard" (1996), although good albums, do not shine with that intense light that once was. And so the king makes amends.

After the graveyard of "The Graveyard", a rotten, grim, and sick story, we finally return to an old and grand house ("Abigail" and "Them" ring a bell?), this time in Louisiana.

The story that emerges is a story of spirits, ghosts, and mysterious presences in the night, but this time it deals with phenomena stemming from the use of black magic. Voodoo, in the oppressive heat of a summer spent along a stretch of the Mississippi in the shadow of an old colonial house. The couple David and Sarah Lafayette have just moved in a few days, and their existence will never be the same again...

Leaving aside the story, which I recommend you delve into by reading the lyrics while listening to the album (a practice befitting every good fan of the king), let's move on to the music.

Our hero has slightly adjusted the aim from previous attempts. We are not in front of a real masterpiece, but many songs can be truly appreciated greatly. The excellent "LOA House", the unsettling "Life after Death" very Sabbath-like in its progression, the more complex "Salem", and the earth-shattering "One Down, Two to Go" up to the concluding "Cross of Baron Samedi", rich with subdued melodies and truly solid restarts. There are some weak points, such as the experimental title track (enhanced with tribal drums), in my opinion, and some things here and there that could be improved. The band is in great form starting with the king: the falsetto is present, although not as shrill and bright as in years past, but in general, the singing is, as always, on the shields. Andy laRoque delivers, as usual, a great performance; he, too, is one who never misses a beat. The rhythm section is also good, very well studied and imaginative. The production is not yet thoroughly refined, but definitely better than the previous two albums, which were also limited by questionable sound choices.

"Voodoo" remains a truly happy episode in the king's discography, the best of the '90s, excluding "The Eye", but a step below the albums of the ultimate rebirth that will already take place with the subsequent "The House of God" (2000).