This is their best since In The Shadows. The production is by far the best. The guitars, King’s vocals, bass and drums are superbly mixed. It kind of makes you wonder what would Don’t Break The Oath sound like if it were recorded today? This is it! Though I don’t agree with the lyrical content on most of the album, it’s just King doing his own thing, as usual. As for the band’s lineup, Michael Denner left the band in order to spend time at home. He subsequently found his own replacement in Mike Wead, whom Michael thought played very similar to his own style. Sharlee DiAngelo has been with them since ‘93, and only the drummers have constantly changed. I see it as a band that is continuing to evolve. This is definitely a must for any Fate/Diamond fan. It is definately NOT a disapointment, but a triumph for the band, giving it’s best sound so far.
No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 15-JUN-1999
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This album is truly one of the greatest albums of the nineteens. Brutal, but still melodic. King’s singing is just perfect!
I was kinda surprised in learning that this wasn’t a concept album, as I was under the impression that almost any album was that involved King Diamond. I’m not quite sure of the significance of this album’s title. Perhaps it’s because this is Mercyful Fate’s ninth release (if you dismiss their self-titled EP debut and the 1992 “rarities” release). Or maybe it’s just because it was released in 1999. Context clues don’t make things much clearer when the lyrics to the title track read “I am 9 … you are 9 … we are all 9″. I suppose it’s also possible that it has some satanic significance (as it is well known that King Diamond claims to be a member of the Church of Satan — to which his lyrics testify). In any event, I liked this album a tad more than I did _Them_ from King Diamond — although I thought the La Rocque and Blakk tandem performed slightly better than the guitar work found here from Shermann and Wead (which is saying a lot). I’m not exactly sure what made this a better album. Better production might be part of it, maybe it was slightly tighter, more memorable songs. It also seemed more melodic, and the vocals seemed a bit more consistent here. I actually loved this album more on the first few listens, but repetitious choruses and predictable structures took away a little from this initial attraction. Still, this is something metal fans won’t want to miss out on — I don’t believe there was a single weak track on the album. Favorite songs included “Church of Saint Anne”, “Burn in Hell”, and “Buried Alive”.
Musick at 100 mph, sudden drops & changes, special effects to accentuate the sonic experience, it’s just Black Heaven! I particularly enjoyed “Kiss The Demon”, which resembles some vampyric practices that I have come across. ‘The Grave’ seems to mock black sheep-types, in “bring your sacrifice…..” to the graveyard, for desacration, intoxication, & fornication! ‘Church of St. Anne’ is a moving piece which carries some evocative aspects. It also speaks of a priest getting stoned by his own parishoners. ‘House on the Hill’ sounds very familiar, actually. The classic haunted house scenario done with eager anticipation.”…..I don’t believe in heaven, I don’t believe in Hell, so save your god for someone else, or save him for yourself…..”
I’m really glad that MF put this album out. I’m tired of the incessant comparison of every new MF album with MELISSA and DON’T BREAK THE OATH. Hell, DBTO was released over 15 yrs ago, and something would be very wrong with MF’s creativity if they still sounded today like they did back then. I read an interview with King and Hank Shermann (in Metal Maniacs) and they explicitly said they’re tired of everyone always saying, “This album isn’t MELISSA,” and that they’ve always wanted to try different directions with their sound. I admire them for finally taking broader steps, with 9, to move away from that ancient fan base that’s still stuck in the early 80s. I mean, how many times can you possibly listen to MELISSA and DBTO? MF’s fans should be grateful to have a band that continues to produce consistently high-grade music on an almost yearly basis (minus the breakup years). King Diamond himself has got to be one of metal’s most creative and inspired artists. I admit that the lyrics on 9 sound kind of similar to other KD/MF songs, but his singing remains impressably innovative and incomparable. “Church of Saint Anne,” “Sold My Soul,” and “9″ are vocal masterpieces. I also hope that Mike Wead will be allowed to contribute more music to the next MF album; his only composition, “9,” stands out as the most twisted piece of music on the album. I think 9 will, with the proper exposure, garner MF more fans and the wider listening base that they have been so long in deserving.