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mercyful fate melissa

Shallow Grave — Threshold Between Worlds. The slightly unusual scales used at these points do move away from the traditions of contemporary NWOBHM, the former song ending up a much darker Venom-ized version of ‘Gypsy’ from Don’t Break the Oath though not quite approaching that song’s brilliant catchiness , while the latter is Fate’s most ambitious epic and certainly the most troubling cut from Melissa. The CD is amazing though! By using this site, you agree to the Terms of Use and Privacy Policy. There comes a time in every parent’s life when their child will look at them with their wide eyes and innocently ask, “Daddy or mommy Well, you get it.

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Honestly, I think every metal fan should hear this to see where their favorites come from.

This is the definition of a vocalist with a wide range. Melissa is technically great featuring outstanding vocal melodies by King Diamond and a complex structure and musicianship, but I feel as though the album deserved a more scorching and high-energy song to close with and that Melissa should have appeared earlier on.

If they heard this in ’83, London’s finest stand guilty as charged. It’s still worth listening to even if it is a bit incoherent at times and not as essential as the rest of the material. It is better to have 20 mediocre and below average songs than to actually get our shit together and release a good album with 7 quality songs on it”. Despite how dark and compelling the tate are, they maintain an extreme degree of catchinessand trust me, you will be singing along in no time.

Thirty-Five Years Later: Mercyful Fate – Melissa | Indy Metal Vault

mercyfu The part that is troubling in the manner of “my mum just shat herself” is the down-tempo atmospheric riffing that begins at 0: Well, you get it.


In later pressings the orange colour is replaced with red. From what I understood, this album was a very influential one for many Thrash and Black Metal bands to come. The song arrangements are varying and awesome.

Thirty-Five Years Later: Mercyful Fate – Melissa

Go and get it! I mention all of this to note than even a Maiden fan who loves Dickinson’s range could hate this. The kind that pricks blood from the end of your finger, transforms on a full moon, and prefers the odd or jaded features of the universe to impose a ritualistic sense.

Diamond is in fact much lower naturally. The reason for that is simple. Key words being “damn near”. Like Dracula, The Wolfman or The Mummy is to nearly a century of film scares, this record serves as an aesthetic monument to its medium. As with most metal albums, the bass gets buried, but Timmi melisxa Hansen’s manages to shine here and there with it’s chugging hardness, especially in songs like “Into The Coven” or “Curse of the Pharaohs”.

Curse of the Pharaohs. Be as hokey as you want as long as you can make it work. Second is the production. No, it’s not the eeriest record in the Danes’ lexicon, but along with the rest of Diamond’s works from ”90, this is well worth breaking out for another Halloween spin, since it’s lyrics and concepts of witches, Satan and the restless dead make a great accompaniment to the aesthetics of the holiday.

I have never seen it do differently for anyone else, therefore I encourage you to give it a listen. For people who aren’t into King Diamond’s vocal style, this is probably not the best place to get acclimated to it. Shit like this is why I could never pay attention to Eric Clapton as a lead player, the riffs underneath were too good! And below in the highlights I am going to mention every track just to really drive that home, but I will rank them in order of my favourites.

Even the common cry of “but the lyrics are Satanic all the way through” doesn’t hold up under scrutiny because last time I checked Egypt and the Pharaohs had nothing to do with Hell or satan.


Oh, yeah, did I mention how fucking awesome the riffs are? It might also be worth mentioning that ‘Curse merrcyful the Pharaohs’ might well be a neat example of backwards influence, since it starts with a similar riff to ‘2 Minutes to Midnight’ and contains Egyptian themes, which sounds an awful lot like what Iron Maiden were doing The other highlight would be the vocals.

It’s also worth mentioning that “Into The Coven” was on the PMRC’s list of tate fifteen songs that all suburban white kids should go out and buy a zillion copies of. The song is a good display mmelissa what is to come too, the song contains a lot of great riffs and changes, giving ‘Evil’ a certain complexity without even getting that complex, which would become Mercyful Fate’s trademark on the many albums to come.

Sure they were scaled to perfection, running their fingers possibly over the same areas as the next guy, but finding those particular ones in their case that can bring a song into an elevated atmosphere. The story of the girl who joined the witches only to be sacrificed to Satan is very interesting mwlissa entertaining.