I have this in my top ten albums, and it won't leave any time soon. Found insideTheir second album Don't Break The Oath (1984) is also a stone cold heavy metal classic. Fronted by King Diamond, they were also an incredibly powerful live ... Diamond did, and it paid off marvelously with this song. He can go from a deep death-thrashy kind of growl to an ear piercing, glass shattering, almost dog whistle falsetto in a mere instant without having to transition. The music is packed with leads and solos, the two guitarists trade them back and forth all over this record. Then there is the jaw dropping guitar duo of Hank Shermann and Michael Denner, a duo that happens to be one of the best in all of metal. 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). Desecration of Souls is groovy as all fucking hell. Whether you enjoy searching for Lemmy on your own or with another Motörhead fan, this puzzle book is best paired with a Jack Daniels and coke—officially dubbed ‘The Lemmy’—and one of Motörhead’s 22 studio albums. There’s no album quite like it. The gentler, hard rock character of some of the riffs on the 1983 album (time to revisit 'At the Sound of the Demon Bell' and 'Curse of the Pharaohs' if you've not noticed it) was much less of a feature here, with greater concentration on speed and the non-classic NWOBHM style of Angel Witch, Satan, and Hell, who were twisting the original sounds of Iron Maiden, Saxon, and Judas Priest into spikier, more threatening shapes from 1982 onwards. They say by the time a band releases a second album, they've lost their fire. Then, Desecration of Souls which is pretty awesome in that after the "so I speak for the dead" it sounds like they'd play a fairly simple riff, and it opens up that way but then goes into a bit of shredding, and even when the second guitar comes in to play a short solo, the first one is still doing some crazy things, before finally settling into the simple (I use that word in a good way), catchy main verse riff. Songs like Come to the Sabbath and The Oath frequently find themselves inside the most intense, Dissident Aggressor-type moments Priest could only sustain for brief passages; Fate sounded like they’d be comfortable living there. There was a radio show playing whole albums. I've listened to other Mercyful Fate and King Diamond albums and this one is still my favorite. Songs like Night of the Unborn just rip right into lead work from the get go before the band kicks in and the ass starts to be kicked. Structurally it is slightly less linear than the heavy metal of the 1970’s yet still is fairly straightforward, thus meaning the album isn’t too simple as to get boring yet still have enough melody and repetition to be one which is easy to know by heart. Mercyful Fate's early material has been widely lauded and rightly so, since the EP, 'Melissa', and this album, 'Don't Break the Oath', all contain some fantastic music and have proved to be influential far beyond Fate's original limited sphere. Taking a different route from the last straightforward rockers, this bursts into an almost danceable riff which is at times almost reminiscent of "Stained Class" or perhaps "Stranger In A Strange Land", save being darker than the latter and more slickly produced than the former. The lyrics are mostly based on Satanism or the occult. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. An all-around talented band. ...to be a douche, the fact is this album is just too damn good. If this doesn't convert you, then you're already dead. But less effort seems to have gone into the songwriting process this time. It thunders and snakes along below the guitars giving heft to the razors being spit out by the guitarists and making this a total package of musical excellence. The scary thing is the way they just kind of toss off little ideas which show that, had they wanted to, they could’ve absolutely owned virtually any other contemporary metal band’s style as easily as they did Judas Priest’s. Come to the Sabbath. I’m not taking anything away from Satan’s Fall, Evil etc., but I have consistently seen DBTO ranked higher than Melissa on greatest metal albums lists and after giving both albums a fair shake, I’m inclined to agree. I repeat you need this album. This REQUIRES to be listened because it can't be explained with just words. They along with Anvil, Motorhead and Venom have helped create what would become thrash and extreme metal, as well as black metal with the latter of the aforementioned bands. The home stretch of 'Don't Break the Oath' is also much weaker in comparison to the first 6 songs, with even the classic 'Come to the Sabbath' leaving me dry in its particulars, notably the slightly empty verses. You'll realize how much you were missing out on afterwards. However, beneath the more material aspects of the album, I hate to say this, but there's a very strong sense of atmosphere that should be more drawn to black metal than anything else (just listen to "The Oath" for cryin' out loud! Found inside – Page 124( BRINKMANN , S. 166 ) • KING DIAMOND : „ Come to the Sabbath ” = „ Komme zum Sabbath ! ” ( Satansmesse ) < > „ Don't Break The Oath ” : „ Bei dem Symbol ... To One Far Away is a bit of an interlude - kinda cool, I guess, though half the time I tend to skip it. They are a rare group that actually might follow the Devil, and even the singer said he had no worries about where he's going when he dies. The vocals have a very crisp sound to them, particularly the falsetto screams, while the instruments themselves have been carefully placed in order of importance. On a related note, this change in production flipped the atmosphere. Another issue is that, while the riffs and rhythms are often aggressive enough to satisfy modern and extreme advocates, King Diamond's vocals deserve less praise than they have received in the past. stolen) from this their last album before their first spilt. Estigia was right. This album, my friends, is awesome. This is an awesome album worthy of great praise. Many of the bands from this movement went on to influence later black metal musicians in the 1990s, particularly in Norway. Night of the Unborn is K.K. In Through The Out Door (Deluxe CD Edition), The Heavy Metal Guitar Bible: The Complete Guide to Modern Heavy Metal Guitar. Just because the innovation has been exaggerated does not mean that Mercyful Fate weren't capable of introducing new ideas to the heavy metal paradigm. Diamond's vocal approach has also changed a little. Many of the bands from this movement . The bass playing of Timi Hanson is another delight, high enough in the mix but not Steve Harris high in the mix. Is it the hot, hellish production? The style Mercyful Fate employed on Don't Break the Oath resembled a mixture of heavy metal with progressive elements, lyrically preoccupied with Satan and the occult and distinguished by King Diamond's theatrical falsetto vocals. Well, there you have it, the second-best release of 1984 in the traditional metal arena, being bested only so-very-slightly by Iron Maiden's stupdendous Powerslave. It’s like if some rookie did one of those ridiculous LeBron James-style full-court chasedown blocks on LeBron, and then posterized him with a dunk at the other end of the court. But then it just kinda falls apart. If you don't have this album yet and are a fan of this band, get it now. Its not super thick like 90's and later metal production, its sharp. I'll be frank here, though, just buy it. The Oath Timi Hansen was arguably streets ahead of Iron Maiden's Steve Harris by this juncture, his basslines packing the songs with moody undertones and frantic energy as required, while the solos are always outstanding, and some of the riffs were truly revolutionary - let me point out 'A Dangerous Meeting' and 'Nightmare' for the most clear developments from NWOBHM. Tracklisting Side A: 1. The band were serious about their themes of Satanism, but there is something fallacious about the claims that Mercyful Fate sound evil, since their major key lead breaks and anthemic riffs are often too happy to be completely atmospheric. Found insideEn 1983 sort Melissa (du nom d'un squelette dont King Diamond s'est entiché) suivi l'année d'après par Don't break the oath. Une tournée s'ensuit qui les ... A true classic in the Mercyful Fate discography of classics. This album actually does give off something in the power metal direction, fast and melodic. One very important element of this album would be it's production value, which sounds delightfully hellish. I was only fifteen. Found inside – Page 23No ambiguities: King Diamond's overtly Satanic lyrics are echoed in the cover art (once again by Thomas Holms) for the band's second album, Don't Break The ... Instead of a darkened cemetery, we now are surrounded by leaping hell fire, conjured by the guitarists themselves. This scared me and for that reason I never listened to Mercyful Fate or King Diamond until 1999 when I won a NFL bet and got this album as a prize. I prefer this and Fate, but many who find Diamond's solo band distasteful will likely gravitate towards the debut. 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. One cannot discuss this band without first discussing its frontman, but no conversation is really necessary. Night of the Unborn Side B: 5. Diamond was Satanic to the bone. He doesn't quite have the more unique vocal melodies, but they are getting there. I slightly prefer the former, but this isn't weak. Perhaps such an upgrade in feel for the songs is the indication of Hank wanting to go in a more commercial direction, but there's certainly nothing here that will be mistaken for Desert Plains. This is, to me, probably Mercyful Fate's best album. For pure lead work this is up there with the best of Murray and Smith, Downing and Tipton, or any of the classic 80's guitar duos. While it may not sound like much when compared to today's collection of death metal superstars, but considering this was released back in 1984, a time when technicality wasn't exactly the focus of metal, (especially for bassists) and once again, he's using his fingers, as opposed to a guitar or bass pick, this solo is a hell of alot more impressive and damn, it just sounds cool! The lyrics are deadly and uncompromising throughout. Lyricism drenched in satanism of course, but we don't see Number of the Beast getting called black metal do we? Back then, I was listening to Maiden, Priest, you know, the usual teenage metal suspects. The first half of the song is mediocre, though it picks up again with a fluid pair of solos from both guitarists, and there's a great vocal line that supersedes the plain riffing. Found inside – Page 65Millennium Nocturne doesn't just suggest big spaces, it creates them explicitly. ... remains from the breathtaking albums Melissa and Don'f Break The Oath. The album itself is heavily aggressive trad metal, with some exceptional displays of guitar ability within the solo’s (The Oath) and some marvellous invention displayed within the riffs (come to the Sabbath). Found inside – Page 129It doesn't hurt , of course , that he's a practicing Satanist , though he's quick ... Again , King Diamond has released almost an album a year for the past ... Is it the brutal riffs which conjure up the powers of hell and cast an ancient, forgotten spell upon the listener, gracing them with a massive boner which manages to sustain itself for a whopping 3 weeks? I'm here to say, as a lover of metal, I place Mercyful Fate's Don't Break the Oath in my top 20 for best metal records (sorry again it took 20 years after it was released for me to see the brilliance!). It's a bloody, fiery gem of metal polished by the singer's near-falsetto vocals. Never before have I been in the presense of such a brutally, evilly, and utterly boob-grabbingly devillish recording, and if I have, then this band could easily be considered the pioneers of such a sound. This is not a rip-roaring speed metal fest - then, this album really isn't, though it would like to be very much - and yet it's better than all of them. So, I'm gonna try to make amends. It’s IIIIIIIIIN THE NAME OF SAAAATAAAAANNN, it’s Don’t Break the Fucking Oath, it’s the best metal album ever. The rolling, groovy riffage of Desecration of Souls just about out-Savatages Savatage, and you know Dave Mustaine ripped off Come to the Sabbath’s coda for approximately half of the breakdown riffs on Megadeth’s first four albums. Don't Break the Oath is the second studio album by Danish heavy metal band Mercyful Fate, released in 1984. These three songs should be instantly recognizable to any self-respecting metalhead: "A Dangerous Meeting," "The Oath," and "Come to the Sabbath." His vocal performance on this album is just superb.
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