Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

If someone give this a below 90 rate, kill him!! - 96%

Estigia666, February 12th, 2003

Traditional metal with a dark edge played with the utmost passion, great musicianship, adventurous approach in songwriting and one of the most original and recognizable vocalists in metal. This REQUIRES to be listened because it can't be explained with just words. Even the first song, A Dangerous Meeting, with those killer guitar riffs and its sheer complexity cannot stand to the various directions the following songs approach. Every song is different from the others, very much thought and no detail is missing from the picture.

The depths that this album reach are.... frightening. Nightmare has some clavichord arrangements and riskful approaches in the vocal territory (the "YOU ARE INSANE...YOU ARE INSANE!" part always ends with my patience, but i guess that you can't like every experiment a band makes). Desecration of Souls starts with a creepy slow riff, and gets "bluesy" in the verses, but it doesn't stay there, the changes come one after the other, keeping the whole thing interesting and never dull or boring. A short "rocking" guitar solo (sort of a reminder that this album was made in the middle eighties) introduces Night of the Unborn, again King Diamond's experiments with his vocals show some unconventional vocal melodies, sounding really eerie and sick at the same time. The chorus is memorable, and the lead guitar works SHINES!!!! The solos are made and played with so much fucking passion on this one, is almost incredible (Please, take note on the solo that starts in the 3:54 mark and ends in 4:29). The Oath has some satanic lyrical work, made in sort of a praying styling, and even more complex arrangements. Gypsy has sort of a more rock like approach than the previous song, more incredible vocal melodies, but appart from that it doesn't really shines that much (that doesn't mean that is bad, either). Actually, both Gypsy and Welcome Princess of Hell are most remarkable thanks to King's vocal work more than anything else. Come to the Sabbath, one of Fate's most recognizable classics, keep the nature of the first tracks, you know, the complex songwriting, the passion dripping all over the place, etc, etc.

Overall, this album is a CLASSIC in any way possibly imagined. If you aren't agree with me on this, go fuck yourself.