From Diamond’s more bizarre deliveries, to the more melodic guitar playing, to the reduction of groove, this definitely functions as a transition. More excellent bass and drum work here along with seemingly endless leads and solos. Same with Nightmare, which is another epic number. Nobody plays a merely supportive role, with the string players all phenomenally impressive in rhythm and lead roles. Actually, it’s not really bad, but if you compare it to the beginning of the same song, it looks quite weak.
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Once one has allowed time to grow used to King Diamond’s vocals, the power and density of these songs will unfold many different points of focus. It was louder and fuller, and to be honest brwak times it even sounded more raw. Besides, very few bands were as heavy and brutal, yet remaining as tight and in possession of anything resembling good production!!
The riffing is somewhat faster on this album. This is normal growth, and it’s an obvious positive that they are experimenting with their sound. If other metal albums are burnt offerings to the Devil, then this offering is one that stills burns, constantly burns.
The depths that this album reach are Just think, King Diamond was an actual Satan-worshipper who managed to approach the topic as something he truly felt inside his heart as opposed to some stupid gimmick or childish attempt to offend.
Mercyful Fate – Don’t Break the Oath – Reviews – Encyclopaedia Metallum: The Metal Archives
In particular, King Diamond carries the album along. For others, they may not do as well. 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. Anyone who dares step up and denounce the pure evil that is this “Don’t Break the Oath” shall be struck down oahh I somewhat prefer guitar as far as the instruments go, so Fafe adapted.
No matter how great the epic that was “Satan’s Fall” was, it simply can’t compare with the galloping title track for this album which th off with spoken word prayer to the unholy one himself lathered in organ while a maniacal demonic laugh renders everything unintelligible and the band lays down the most jaw-dropping track of their entire discography.
What is it about this release that is so compelling?
He drops into his lower register to give accents to the evil lyrics when necessary but spends most of his time as high as he can go. Stand out tracks including the poignant yet exhilarating A Dangerous Meeting and the heavy metal stomp that is Gypsy. I like this album better than Melissa for two reasons. The ridiculousness is part of the appeal, sure, but you have to be willing to let yourself just accept these things on their own terms.
The only vocalists I can think of who can reach all these octaves so fluidly are Rob Halford, Tim Aymar and Eric Adams, yet none of them can go to the extremes that Mr. The only thing that may be considered filler by some is a short instrumental track, though I find it fits just fine with the rest. Though the energetic riffing, fluid leads, and high pitched vocals had all been seen previously, songs like ‘The Oath’ took those basic elements to new territories as King Diamond’s screams rip through one of the catchiest galloping riffs ever committed to tape and faate guitars take up his shrill cry and fling it into the wind with desperate courage.
Don’t Break the Oath is supported mercful three pillars of blackened heavy metal – one at both the beginning at the end, and the third right in the middle. They’re still pretty Priest influenced, but this is more subtly. Songs like the bouncing Gypsy, and the pure classic Come to the Sabbath cement this as an all time classic record.
The production of ‘Don’t Break the Oath’ is considerably stronger than that of ‘Melissa’, which provides a greater thrust for both guitars and drums, making them sound attacking emrcyful the majority of songs, rather than atmospheric.
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.
If you don’t like his vocals this will be a problem, but if you don’t like the King’s vocals you need to pull your head loose anyway. Songs like A Dangerous Meeting and Welcome Princess of Hell has some lethal stuff, but for the most part they feel a tad uninspired. The verses ozth the opening track A Dangerous Meeting are forgettable and the overuse of the falsetto makes it lose some of the effect, which is another mistake that’s made a couple of times on this album.
Trust me when I say that this one will be with you for years to come.
Don’t Break the Oath
Archived from the original on April 5, 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. To those that believe that Ride the Lightning, Powerslave, Defenders of the Faith, or Metal Church was the metal album ofyou need to hear this again, as the consistency and peak of this album surpasses anything found on those. I prefer this and Fate, but many who find Diamond’s solo band distasteful will likely gravitate towards the debut.