Artist: King Diamond
Label: Metal Blade
Release Date: 6/20/00
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Title: House of God Artist: King Diamond Label: Metal Blade Release Date: 6/20/00 |
Judgment Committee Reviews | Rating |
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2 | ||
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5 | ||
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Go to Reader Reviews | ||
Abyss's Review:
It's finally here. Another concept album strong on story and production values, complete with a legend of metal and a master axeman. What could possibly wreck this newest King Diamond album for me? That's easy, the same thing that ruins every King Diamond album for me… King Diamond, the Frankie Vallie of Metal. I don't blame King himself, mind you, but rather some cajoling sycophant who, when King first asked him his opinion of his singing he said, "That sounds cool," when what he really should have said was, "Stop that. It hurts." I'm sorry, no matter how evil or violent your lyrics are, if you sing them in the same voice as an eight year old choir boy, it's still going to come across as lame.
"What could possibly wreck this newest King Diamond album for me? That's easy, the same thing that ruins every King Diamond album for me… King Diamond, the Frankie Vallie of Metal." I realize that these statements are considered blasphemy in the world of metal, but I feel it must be said. Granted, the argument that his vocal range is impressive enough to merit some respect, but I don't buy it. It's damn hard to mimic the sound of a howler monkey as well, but if you are able to do it, that doesn't mean you should record it. What makes all of this harder to take is that I really enjoy a lot of what the band (and Mercyful Fate as well) is about. I think Andy La Rocque is a very talented guitarist who combines technical ability with a general knowledge of his instrument, to make him an impressive overall guitarist. Unfortunately, on House of God there even seems to be something missing in that respect. While all of the classic parts to a King album are present, the songs just don't work that well on two levels. First is that the songs themselves are not that memorable, with nothing but a lower caliber of songwriting to blame. But with the theatrics being such a big part of this band, this album also seems to pale when it comes to its story (at least in relation to the classic King albums.) Don't get me wrong, the story isn't watered down or anything, it's just that the composition of the album itself doesn't get the story across as well as the (in my opinion) best of this band's concepts. Namely Abigail, Them, and Conspiracy.
However, long time King fans won't be nearly as disappointed as I am, and should most likely pick this disc up. But for me I would need a lot more to make up for the ear damage inflicted by King's voice.
Death's Review:
A couple of weeks back (prior to my having heard House of God), I was helping some friends prepare for an upcoming Metal Update interview with the King himself when an interesting conversation ensued. What was the modern day difference between King Diamond and Mercyful Fate? Sure, I first thought, the easy answer might be the presence of Andy LaRocque versus Hank Sherman on guitar. But I always had thought of the difference as something more than that. To me, King Diamond is supposed to be technical, melodic thrash, and Mercyful Fate is supposed to be dynamic and mysterious, classic heavy metal. King Diamond has searing neo-classical leads and a modern guitar sound, while Mercyful Fate had down and dirty pentatonic blues leads and a warm fuzzy, overdriven guitar tone. To me, there is supposed to be a difference between the two entities.
"House of God, while still retaining the concept record as a King Diamond trademark, may represent the most complete blurring of the Fate/Diamond distinction." House of God, while still retaining the concept record as a King Diamond trademark, may represent the most complete blurring of the Fate/Diamond distinction. Musically, this could easily be the new Mercyful Fate record. The riffs are simpler than those found on Them, Conspiracy or Abigail, and the guitar sound might as well be sampled from Don't Break the Oath. Yes, King Diamond has returned with a more classic, old-school type of sound. And don't get me wrong, the sound works, and works well throughout this release. But I guess I now have to finally give it up and admit that King Diamond releases an album every year: in odd years it's with Hank Sherman, in even ones, it's with Andy La Rocque.
So, OK, so it sounds like 9 or Time or whatever. Fine. Is it any good? Well, yes. But first I have another complaint to voice. These songs do not sound that much different than either (a) what you expect from King Diamond / Fate; (b) what you have heard before from King Diamond / Fate; (c) from one another. So forget about forging new ground, or hearing the King ascend to new heights - we are treading over familiar territory here folks, and if you can get over that (perhaps that is even cause for rejoice?), then House of God is exactly what you're looking for.
"A fine piece of metallic work wrapped in an expertly woven yarn, embellished by a veteran metal vocalist once again achieving the glorious operatic heights of yore." The song writing is decent enough, with interesting riffing, dramatic vocals and dynamic effect prevalent throughout. While, for the most part, the songs are lacking in variance or catchiness, they do nevertheless achieve their primary purpose: serving as vehicles to advance the latest King Diamond ghost story. And a grand tale it is, expertly told. I must note that the King is once again reaching for the high registers with a frequency not heard since the days of Fate's prime. Taken together, this should be enough to allow most longtime loyal King Diamond fans to conclude that House of God is an excellent record.
And trust me, it is. Few artists can piece together such a fully realized conceptual vision. A fine piece of metallic work wrapped in an expertly woven yarn, embellished by a veteran metal vocalist once again achieving the glorious operatic heights of yore. When you put it that way, it's hard to see how House of God could ever command less than 4 skulls. And well, just because he's King Diamond, who has done this so many times before (and has surely done it better, at least on Them and Abigail), doesn't mean he should be punished, right? Right.
I'm just psyched for the tour.
Rating Revised for Metal Judgment Anniversary
Hel's Review:
If you are a big King Diamond fan, and you haven't heard the new album by now, I suggest you drop everything and go buy it right now. I found this disc amazing. I have only managed to listen to it in its entirety twice now, but that's been enough to convince me that it's one of his best efforts ever.
"If you are a big King Diamond fan, I suggest you drop everything and go buy this album right now." I found the story to be quite clear, but perhaps I've got a skewed view on that. You see, I'd already read all about it in the Metal Update interview. It might be fair to call that the Ultimate Companion Guide to House of God, so thoroughly does King describe the story there. He goes into such complete detail in fact, I'd swear he quotes himself verbatim at times.
It's a fascinating, intense story, told with fascinating, intense music. What else would one want from this effort? I have been provided with everything I was looking for, and then some. I know that I will discover more and more to enjoy as I grow more familiar with House of God, and I regret that I do not already have that perspective to share.
"It's a fascinating, intense story, told with fascinating, intense music." So while I can't provide you with a comprehensive essay on the merits of House of God with insightful remarks of how the nuances of this compare to other great King Diamond works, or even within the larger context including Mercyful Fate, what I can do is tell you that this is quality metal. Sit. Listen. Enjoy.
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