I like the idea of kind of returning to when I would review whole blocks of albums from an artist because of the whole alphabetical order thing. I don’t want to go entirely back to reviewing my library A-Z, but as something hits me I’ll occasionally return to the format when I have enough from an artist to do so. Like now. King Diamond (and by extension Mercyful Fate, although honestly they came to my attention later) have always intrigued me as coming close to the sound I heard in my head whenever I thought of “my” perfect metal as a kid: heavy but progressive, with interesting structures but killer hooks. So with that in mind let’s travel through what many would consider their trifecta of classic albums, starting with their debut Fatal Portrait.

You wouldn’t think there’d be much of a difference between King Diamond and Mercyful Fate, especially since King took guitarist Michael Denner and bassist Timi Hansen with him. And Fatal Portrait IS similar, thematically consistent but presented in a slicker, more streamlined fashion. That choppy and angular, progressive songwriting is there but it’s pushed toward the background. making way for a smoother, sharper attack. The first four songs make up a short mini-concept about a young girl’s spirit trapped in a candle, and the tragic, horrific events that befell her. Which is fine provided the songs are actually good. They are: after a brief prologue “The Candle” kicks the album off with a galloping riff and a series of great solos from Denner and Andy la Rocque, who arrived too late to contribute to the songwriting but would certainly rectify that over the next 30+ years. “The Jonah” opens on a more ominous note, and its arpeggiated riff speaks to what I was looking for as a kid after hearing bands like Fates Warning and DBC ( both bands we need to get to here). I love the harmonized solos, and the song twists through different section and rhythms in its five minute runtime.

From there we hit “The Portrait” and the album starts to settle into its groove, that galloping triplet riff returning and King’s voice in fine form, stacking impossibly high harmonies together ensuring no one will ever sound like this band. I’m a fan of the production: it’s compressed in a way so much of the heavy metal of the 80s were, but that squashed sound is such a strong identifier to King Diamond’s music it’s hard for me to imagine it with a more modern sounding production (yeah, I haven’t really strayed too far into the band’s later work). Nothing sounds buried though, and Mickey Dee’s drumming is prominent throughout. The last song in the cycle, “Dressed in White” is overflowing with solos, and it’s a real showcase for Denner’s work.

Side B starts with “Charron” and its the first real time I feel a shift in the music, the riff slowed down just a touch, and perhaps borrowing a vibe a lot of other bands were using. That is, until King’s voice injects a melody no one but they would use. Fun percussion effects. When this came out I was in love with metal, but still a little leery of things that were deemed “extreme” or dabbling in anything satanic…a weird distinction I made with music but not films – I LOVED horror movies and especially ones that had dark mystical themes and plots. “Lurking in the Dark” knows where its bread is buttered, and launches with a terrific Denner solo before settling into its admittedly somewhat forgetful verses. It’s the first moment I get album fatigue, but that could just as easily be from the production as from the songwriting. “Halloween” at this point has a life all its own, owing to the many, MANY times folks have played it on October 31st for over thirty years. I dig it, but admit its silly factor is high, even for a King Diamond album. At only a minute and half, I really wish there was more to the brief instrumental “Voices From the Past” – I love the use of piano and synths, and Dee’s drums are way up in the mix. It’s frightening in a way the other vocal tracks aren’t, and the syncopation at the end is *chef’s kiss* .

That leaves only “Haunted” to close us out, and it’s a great end to the album, Timi Hansen’s bass featured slinking up and down the song. I feel like Fatal Portrait doesn’t get the same level of respect as its too classic conceptual followups do, but as a debut for a new side to King Diamond it really works, particularly the front half – possibly why they opted to go the full concept route on the following year’s Abigail.

Which we’ll hit next time.