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The Graveyard

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  • Something else has arisen from the morbid catacombe that is King Diamond’s skull, now crowned with a tophat. In “The Graveyard”, King has reached a new level of insanity, unlike anything he has demonstrated before. The theme of this monsterpiece deals with the kidnap & abuse of little Lucy, a “Mayor MacKenzie”, who is her tormentor, & King as a lunatic {not a far stretch —– indeed, the role seems to come naturally for him}, who escapes from “Black Hill Sanitarium” to rescue her from the despicable MacKenzie, who attempted to place all the blame of her abuse upon him, thus, the framework. Another tragic tale from the King of Macabre Metal. Another shock to the soul to place things in perspective, & force further consideration. The music is as eratic as it is organized. It seems to be a paradox, in that unique King Diamond style. Chaos, yet not without order. There is much keyboard work here, that sets the eerie embiance afloat. Once again, the experience of King Diamond is manifest, & as much as you can expect to encounter, so there is that which is unforseen. “The Graveyard” deals with the issue of abuse upon children, translated through the gothic imagination, utilizing metaphor & psychodrama, staged through a horror-genre setting. In short, Shadowmancy. As usual, King Diamond walks between the worlds of fantasy & reality, that lurker in the shadows, that voice from the darkside. And like Satan, the accuser & tormentor to some, & a brother & comrade to others. And like all true Satanists, is the personafication of Satan. The elegant cover & band photo was supplied by the photographic talent of Chris Estes, who also happens to be the bass guitarist. Quite a nice premiere. Plans to publish the “Them/Conspiracy” tales, “The Spider’s Lullabye”, & now, “The Graveyard” novels in book form, are still in the process.

    Posted on December 22, 2009