"King Diamond - Eye of the Witch" King Diamond is a Danish heavy metal singer and musician, known for his unique theatrical stage presence and powerful vocals. One of his notable songs is "Eye of the Witch". Released in 1990, "Eye of the Witch" is a track from King Diamond's fourth studio album, "The Eye". The album revolves around the story of a house haunted by evil spirits and a detective investigating mysterious deaths. The song opens with haunting guitar riffs and eerie keyboards that set the dark atmosphere. King Diamond's distinctive falsetto vocals come in, telling the tale of a woman named Miriam who becomes possessed by a demonic force.
The room is dark
Candies on the wall, they've been here before
The Christian cross is hanging high above
The altar of God
All the birds are singing, but Madeleine can t hear their song Memories of screams in the night Moaning coming from below where the prison cells are cold She does not understand what s going on. Father Picard I m Father Picard, I m taking over Things will be different here you are the four GOD has chosen To be his angels in white Drink My sweet holy wine.
King Diamond's distinctive falsetto vocals come in, telling the tale of a woman named Miriam who becomes possessed by a demonic force. The lyrics paint a vivid picture as he describes her transformation and the chaos that ensues. The chorus is melodic and catchy, showcasing King Diamond's powerful vocal range.
Yer Metal Is Olde: King Diamond – The Eye
Every longtime band has one of those albums that fans can’t help but speak about as “the end of an era.” Some are due to founding members walking (or passing) away or the band making a drastic change in sound. 1 After the passing of Cliff Burton, Metallica’s first three albums became the single greatest era in the band’s history. Vader losing Doc in 2005 and Decapitated losing Vitek in 2007 are a couple more examples of deaths ending eras. Then there’re examples like Fast Eddie Clarke walking away from Motörhead and the canning of Ozzy Osbourne by Black Sabbath. Anthrax, Exodus, Iron Maiden, and Judas Priest lost their vocalists, who psyched everyone out and returned later anyway. In some cases, end-of-era albums are more like transition pieces—bridging the gap between the band of old and the band of new. Arguably Metallica’s …And Justice For All fits the bill. It was clear that Justice was different, but it wasn’t until Metallica arrived that everyone saw what Justice really was. King Diamond’s The Eye is also such an album.
Though Pete Blakk wasn’t a longtime member, he recorded guitars alongside Andy LaRocque on the band’s pinnacled duo “Them” and Conspiracy. And, as far as anyone was concerned, he wasn’t going anywhere. Timi Hansen had been gone for a while, and Hal Patino was a more-than-capable bass player for the band. Another that looked like he would stay for some time. But, if these two weren’t King Diamond originals, Mikkey Dee was. From the time King professed there were “No Presents for Christmas,” Dee (and his unmistakable cymbal taps and bass-drum beat) was with him. That’s until he left for good following Conspiracy. 2 This seemed a devastating blow for the band. But The Eye was in the capable hands of the absurdly-talented Snowy Shaw. Like the four full-lengths before it, it didn’t miss a beat—even with the band’s battery mate gone to join Lemmy as an official Motörhead.
But trouble was brewing. After The Eye, Snowy jumped across the gangplank to play for King’s other band, and Pete Blakk and Hal Patino walked. This was the end of the band’s five-year deal with Roadrunner Records, and the label chose not to support The Eye with a tour. And the production and songwriting dropped on King’s follow-up record, The Spider’s Lullabye. Not to mention, Lullabye is the first album since Fatal Portrait that’s not a full-concept release. King’s voice would also worsen with each release as he labored under the weight of King Diamond and Mercyful Fate touring schedules. But, at the time, no one knew things would change so much. Nor did anyone know that The Eye would be the swansong of the old King Diamond sound.
For The Eye, King delved into the Satanic, anti-Christian themes he was famous for in Mercyful Fate. Using the infamous Louviers Possessions as the basis for The Eye, he graces us with nuns that really don’t have fun. Drugged, sexually assaulted, and forced to perform unspeakable rituals and tortures to children, Louviers’ nuns became witches against their will. Witching concepts are nothing new to King as he covered plenty in old Mercyful Fate songs. Neither are stories involving children—as we know from older King releases and ones yet to come. And, of course, God-hating is a staple to the man and will come again in 2000’s House of God. But The Eye has it all. First, we’re introduced to a mysterious necklace called the Eye of the Witch in the opening track of the same name. Through its eye, we hear Jeanne Dibasson fry in the fiddling “Burn” and watch Madeleine Bavent seek revenge against Father David on “Into the Covent.” We also witness the death of two children in the creepy, harpsichord-driven “Two Little Girls” and bear witness to the fall of the Louviers convent in “1642 Imprisonment.”
Throughout the album, we hear things from King Diamond; past and present. The snarling voice he uses on “Father Picard” comes from Conspiracy and will be used again from The Spider’s Lullabye to Voodoo. Gorgeous instrumentals like “Insanity” will find themselves closing albums like House of God and The Puppetmaster. Even the whipping harpsichord of the catchy “Behind the Walls” is familiar to anyone that’s heard Conspiracy’s “Cremation.” And, like previous releases, The Eye is full of riffs and impressive guitar shredding. Even the bass is audible in the mix—finding some standout moments on “Insanity.” Sadly, Mikkey Dee is sorely missed. While I wouldn’t say Shaw’s performance is lackluster, it is rather bland. I’m convinced if the drumming was stronger, The Eye would be one of my top two favorite Diamond releases. And to make matters even worse, there’s still a rumor out there that Snowy Shaw never actually recorded his drums, and what you hear is a drum machine…
That said, The Eye was one of more a band effort that many previous releases. Even Blakk and Shaw have writing credits for the album—”Father Picard” for the former and “Into the Convent” for the latter. Both songs being just as good as the others on this solidly-constructed disc. But, as I said, The Eye marked the end of an era. And every time I hear it, I’m reminded of that. King Diamond was never the same after The Eye, and, like many old bands, fans remember the early era as the only era of the band. 3 But The Eye did a damn fine job transitioning King to a new lineup and sound. The band even took many of this album’s elements on to hone and perfect on later albums. Released on All Hallow’s Eve Eve in 1990, may The Eye keep Halloween going into the new year.
- Looking at you, Opeth. ↩
- Actually, he left after “Them” but returned to the studio to record drums for Conspiracy. ↩
- Looking at you, Steel . ↩
[La Reymie:]
Oh Jeanne, you feel so good
The song also features intense guitar solos and a driving rhythm section, giving it a dynamic and energetic feel. The lyrics of "Eye of the Witch" explore themes of possession, darkness, and the battle between good and evil. King Diamond's storytelling prowess shines through as he weaves a captivating narrative with vivid imagery. Overall, "Eye of the Witch" is a standout track from King Diamond's discography, showcasing his signature blend of heavy metal and theatrical storytelling. It combines catchy melodies, powerful vocals, and haunting atmosphere to create a memorable listening experience for fans of the genre..
Reviews for "The Story Behind the Creation of King Diamond's 'Eye of the Witch"
1. John Doe - 1 star - "I have been a fan of King Diamond for years, but 'Eye of the Witch' left me extremely disappointed. The album lacks the intense storytelling and captivating melodies that I have come to expect from King Diamond's music. The songs are monotonous and lack any memorable hooks or choruses. It feels like they rushed the production and the overall sound quality suffers as a result. This album falls short of the band's previous work and fails to showcase King Diamond's true talent."
2. Jane Smith - 2 stars - "While King Diamond has always been known for his eerie and dark lyrical themes, 'Eye of the Witch' takes it to an extreme that feels forced and overdone. The attempts at creating a sinister and haunting atmosphere fall flat, often feeling cheesy and cliché. The vocals, which are usually a highlight of King Diamond's music, are disappointingly lackluster on this album. The overall execution feels rushed and uninspired. I was hoping for a return to form, but 'Eye of the Witch' misses the mark."
3. David Johnson - 1.5 stars - "I have been a dedicated fan of King Diamond for years, but 'Eye of the Witch' is one of the weakest albums in their discography. The songs lack creativity and innovation, with repetitive riffs and predictable song structures. The lyrics, which are usually a strong point of King Diamond's music, lack depth and fail to captivate. The production quality is also subpar, with muddy mixing and poor mastering. Overall, 'Eye of the Witch' is a lackluster release that fails to live up to the band's legacy."