Review by Mandeep Arora on June 11, 2024.

The Eye has got to be the most consistent King Diamond album this side of Abigail and also their last truly great one. Rather than repeating the complexity and scale of their previous works, it aims for humbler resonances, a much more approachable and tamer sound and consequently, the songs feel completely tied down and don't have varying directions, their flow very composed… It comprises of the band’s best formulas from yesteryears but refined and matured to the point of no further improvement. Where the previous albums assault your sensations and move at a ferocious pace, The Eye cocoons you in its genteel embrace and has a much more relaxed gait.

You start feeling the difference from the outset. Although heavy on atmosphere, the compositions are simpler and while they have the conventional structures of verses and choruses, it doesn't sound repetitive or boring. The choruses especially are quite catchy and melodic. The opener 'Eye of the Witch', beautiful to behold, is kind of sinistrous and haunting, falling in line with the mysterious artwork and putting you in a relaxed state of mind. This remains an integral part of the album sound. The guitar solos are softer and less hurried, played in abundance but never seeming contrived, their overall effect akin to a trickle rather than a gush of wind. Things are slowed down to a more medium pace, allowing for the songs to flow and breathe progressively and beautifully; the song placement is elemental to this attribute too.

Things indeed pick up pace in between - the likes of 'Burn' and 'Behind the Walls' are much faster in comparison and some songs swell gently as they approach their outros, like 'Into the Convent'. You'll also observe the intensity of the drums picking up as the songs reach their climax and this sensation hits like a hatchet. The drum fills are pretty simple but to the point and quite effective, though I won't lie when I say I absolutely miss Mikkey Dee’s ferocity and wonder how different this album would have sounded had it been him on drums. That’s not taking anything away from Snowy Shaw though, as I think he's pretty good in his own right and you can always hear him work in the background.

Progression and melodies have always formed the nucleus of King Diamond's compositions and while the former is not explored as much as on the previous albums, it's very well evident on songs like 'The Trial', 'Burn' and 'The Curse'. These are three of the best songs as well with fluid and beautiful time signatures and experimentation in the form of riffing styles - the slower, doomier sections on 'The Trial''s outro or the chunkier, ringing riffs on 'The Curse' usher in sizable heft and allure and the shorter, more divergent numbers like 'Two Little Girls' and 'Insanity' are part of the myriad elements conferring the album its murky atmosphere. There's no skimping on the melodies, which elevates the said atmospheric feeling pervasive throughout the album - you undeniably get the impression of being at the witch burning stakes or within the rotten confines of a dark, daunting chapel. The production quality is pretty subdued and old school but clean and punchy, making every instrument stand out and shine resolutely. I don't think any element overpowers the other.

There's a certain maturity to the lyrics and I personally think they are very deftly written. Gone is the shock value and added exaggeration from before; what we have instead are skillfully written lines that aptly capture the events and character emotions. Thematically, this is one of King Diamond’s best concepts and he effortlessly weaves the different stories together; I absolutely adore how it goes from first-person narration on the first song to the main story and again to narration in the end - the story concluded through the words of the alleged witch who gives us a glimpse of her tragic events and eventual vengeance that she continually witnessed through the necklace, or rather "The Eye". As usual, King Diamond shoulders the responsibility of playing all the characters, and there's a multitude of them this time, but he does not seem even slightly bothered, sounding absolutely gorgeous and purposeful for everything he does. We have mid-range falsettos instead of ear-shattering wails and they work so brilliantly and so effortlessly, you wish he maintained this approach for times perpetual. There's so much emotion and fervour in his singing style, you feel as though the actual character's come to life at times.

In my opinion, The Eye is the most underrated King Diamond album and while it has garnered a pretty high ratings, I don't see it discussed or celebrated enough in the metal circles I follow. It emanates a certain mysterious aura that's specific to itself. A perfect restful abode for those who cannot take in the full force of the band's previous greatest hits. I think its restrained nature has a greater impact, and mixed with echoes from the past with some searing moments, you are left slack-jawed at its magnificence. Of course, this restraint also means it's too anodyne for some, and that's perfectly fine, but The Eye is another monumental journey as only King Diamond could achieve. It's a fantastic heavy metal album full of soul and character and a shining example of how simple can be spectacular sometimes.

Rating: 9.5 out of 10

Review by Felix on June 22, 2020.

Usually it is not easy to emancipate yourself from your former band and it is getting even more difficult if you give the most characteristic feature of your ex a home in your neck. The first releases of Mercyful Fate had offered ingenious music and King Diamond’s voice was the cherry on the cake. Maybe he wanted to distance himself with the funny first EP? Hardly imaginable that Fate would have ever recorded a track where Donald Duck or Tom and Jerry show up. However, the King became a more and more autonomous brand. Especially the sound of The Eye has nothing in common with the pretty harsh productions of the early Fate recordings. It provides a rather warm sound with occasionally pretty intrusive keyboards. It’s not a bad mix, but also no masterpiece in terms of the technical implementation.

Maybe I am not the right person to review King’s albums, because I was never interested in horror movies. Honestly speaking, his lyrics do not mean much to me. I respect their meticulous elaboration and that’s it. But it is not that easy to “shock” the listener again and again with similar stories. However, from my point of view the lyrics are not the crucial factor when it comes to the evaluation. It’s naturally the music and here I cannot ignore that King offers some decent songs, but real highlights are a rarity. 'Behind These Walls' is one of them, its chamber music-like intro, the smooth flow and the earworm chorus shape a coherent, compact and impressive tune. 'Eye of the Witch', a nice combination of tragedy and heaviness, also marks a climax, even though it is a rather gentle opener. Finally, the stirring guitars and the thundering tom-toms at the beginning of 'Burn' promise a great track, but the comparatively weak chorus pours some cold water on this number. And unfortunately, there are quite faceless songs as well. The three evolution steps of 'Father Picard' are: beginning, nothing happens, amateurish fade-out – and the predominantly harmless instrumental 'Insanity' is as insane as a glass of milk.

All in all, there is no reason for public outrage, because the album offers more positive than negative aspects. Most songs can rely on a solid and comprehensible structure, King plays with his voice skilfully and some well-integrated tempo shifts lend the album a dynamic touch. This feature makes up for a lack of basic heaviness. This is no work that “hurts” the listener’s ears. I don’t want to use the evil word “polished”, but The Eye does definitely fail to offer edges and corners. Bulky or even progressive sequences are completely missing. Fate once was a ground-breaking formation; King rather walks on well-paved roads.

The Eye is a recommendable full-length, but do not expect any kind of sensation. The material rather rests in itself. Only one extraordinary track occurs. The calm yet evil 'Two Little Girls' adds value to the output due to its special atmosphere. Maybe it’s not fair to refer on “Melissa” and “Don’t Break the Oath” until the end of days and of course one can discuss whether it makes sense to compare King’s albums with Fate’s classics. However, I miss the occult wickedness of the old masterpieces and one or two outstanding riffs would have enriched the output as well. Nevertheless, people with an affinity for medieval stories in religious surrounding and a weakness for relatively melodic songs can check this work.

Rating: 7.2 out of 10