
June 15, 2000
If there ever was an archetypal heavy metal character, it has to be King Diamond. How many metalheads have
dreamed of belting out a well-placed King Diamond high note, or dressed up as the King for Halloween? Both
as the frontman for Mercyful Fate and as a solo artist, King Diamond has attained legendary status. A mere five days before
the latest release 'House of God' hit the streets, the Metal Update was able to catch up with King to get the lowdown on his
latest concept album as well as some deep thoughts from the man behind the mask. We couldn't get a word in edgewise.
Metal Update: A few weeks ago, your video for "The Family Ghost" was shown
on VH1 after the fans voted you "Most Spine-Chilling Vocalist". Did you
know about it at the time it happened?
King Diamond: I didn't know about it, but I was told about it. I thought
it was pretty cool. And then the circumstances of them playing it, I mean,
that's pretty cool. That was a surprise for sure. That was some major
company there.
MU: Do you look at it as a good opportunity for the fans to see an old King
Diamond video?
KD: I wish there was more of that now because we're in a situation where
it's not really worth it for the labels to actually put money into a video.
They don't get the return of it, you know. When people say, "How do you
feel about metal coming back now?" and talking about it like it was dead. I
tell them it was never dead. It was still there, but it kinda died in the
media. Radio stations started playing alternative and MTV would stop
playing the heavy stuff and only go with what everybody thought was trendy,
you know. The bands suffer, of course, and so do the labels because they
don't get exposure to possible new bands. So that's awful. I know many of
the bands that I've talked to, they're like, "Oh, yeah, I saw the "Welcome
Home" video and that made me go out - I had to go out and check it out and
get an album." How do you get people into your band, you know? We had to
go by, for a long time, the old traditional word of mouth way. We had
probably one of the most faithful type of fans we could get. They stuck
through thick and thin with us. A whole new generation is getting into what
we're doing, and we're seeing so many new faces at our concerts the last
couple years. And that's a cool feeling, to see your big fans and they know
all the words to even those old songs we play. We actually pay so much
attention to that, part of the set that we're going to play on this tour
we're starting the 20th of July is based on that
fact. We're going to play like 5 songs off the new album, to feature that,
then we're going to do two off the 'Voodoo' album, then we're skipping the
two albums before that, 'Spider's Lullaby' and 'The Graveyard', specifically
for that reason I just mentioned, and concentrate on getting more of the
older songs in. There's songs this year that we're going to play that we -
even Andy and I, who's been in the band forever - we have not played for ten
years. We're going to play "No Presents for Christmas" the first King
Diamond song ever, "Black Horseman" from the 'Abigail' album, and "Dressed
in White" from 'Fatal Portrait'. We're going to play a song from 'The Eye'
that we've never played live ever before called "Burn". Plus, you'll get
all, you know, "Welcome Home", "The Invisible Guests", "Sleepless Nights",
"The Eye of the Witch"... We did it this Sunday. Actually I was in Sweden
this Sunday playing at a big festival where Alice Cooper headlined the first
night, and Lynard Skynard headlined the second night. We played right
before Skynard. And there was also Dio, and King's X was there, there was a
bunch of different bands. It was really cool, and it was so much fun
playing those old songs again. I just got back from there Monday at
Midnight.
MU: It's fantastic for the longtime fans to hear you're going to be playing
so many old songs.
KD: Oh yeah, they'll be able to see some to those songs that they probably
wouldn't see under normal circumstances. We are so proud of our show
production over there. We have been building in Demark and Sweden the main
part of the huge rendition on the stage, and we got to rehearse on it. But,
God, it looks so cool, it blew me away when I saw it. I really liked the
new production. It's based around the new album. It's a brand new
production set-up.
MU: Can't wait to see it. A minute ago, you mentioned that there are a lot
of new fans at your shows, do you think that has any relationship to
Metallica covering Mercyful Fate recently?
KD: Well, we saw it even before that happened, during the last tour we did
with King Diamond in 1998. But I'm sure that it will have some impact
because there must be people that have heard the Metallica medley who never
paid attention to Mercyful Fate or King Diamond before then. I mean,
thinking for myself, I would be like that. If I heard another band, they
play a song of another band and I'm like, "wow, what a great song," I would
want to go and find out what that band is about. So you would imagine it
has some impact, but how much really remains to be seen.
MU: What about with Mercyful Fate? Did you see any immediate impact there?
KD: It kinda was a new, young audience. Not all new, because a lot of the
faces that - some of them have been there since the first time we'd toured.
So it's a very widespread age group.
MU: How was it when Metallica took Mercyful Fate on tour in Europe?
KD: We played about ten shows, or something like that. Big venues - it was
really cool. I liked, for me, once when... They didn't play our medley
because they couldn't work the time into a normal set. But they did suggest
one day, to Hank Sherman and to myself, whether we should do the medley one
night. The whole entire medley. So we rehearsed with them backstage two
shows before we hit Milan. A big outdoor festival in Milan. And they
exchanged their second to last encore with the whole medley. We played all
twelve minutes of that medley, me and Hank, onstage with Metallica. And
that was the best time.
MU: That sounds amazing. What are your personal feelings regarding
Metallica?
KD: I've always enjoyed the band and the music. And then, of course, I
know them as friends too. They are such nice personalities, you know. And
it must be very hard, to actually deal with all the pressure they go
through. I saw some of it close-up this time when we toured with them. Oh
man, what they go through. It's not easy. But I know them personally very
well and they are very, very nice people. They do so much. They try to be
everywhere at the same time, you know, just trying to please everyone. I
really admire what they're doing. And, then again, I just admire their
whole package.
MU: So you even like their newer stuff?
KD: Yes, I do. I have different views on what people say is a sell out
because, I mean, Metallica is a very hip band. Put them up against most
other bands and they will be the heaviest of them. Still today. But if you
compare them to themselves, they might sound a little less aggressive
because they don't play as fast as they used to play. And then they used a
different recording technique where they both, Kirk and James would play
rhythm guitars, where it used to be just James. That's to get a more live
feeling, and I have all the respect for that. But if you use the same
guitars to do all rhythm guitars, it used to get a little more aggressive
and tighter, you know. But it's a matter of what you want to do, what's in
your heart. I don't feel like they sold out. They wanted to try something
a little bit different and they go for it. To me, sell out is - if I have
to explain it in terms of King Diamond for instance, that band. Some fans
would say, "Oh man, I wish you'd do another 'Abigail' album." To me, that
would be like selling out. Because that would be like a piece of cake, you
know. I could write another 'Abigail' album in two weeks with Andy. And I
could do another 'Don't Break the Oath' with Hank in two weeks. It would be
so easy. That's not a challenge. And that would really, to me, be selling
out. Just to give in, throw in the towel, say we have no more new ideas -
we'll go back and cover ourselves again. I can't do that. Deep inside, I
don't think the fans want that either. Why have a second 'Abigail'? Just
go out and buy a second one if you want two on your shelf. So that's what I
call selling out. If you really just start repeating yourself. One of the
very reasons that you can't come up with something - fresh ideas or... And
that's why we, I know Metallica has, but I don't mean to keep talking about
them, but for us a big, big thing why we are here still and why we have the
style we have is that the record label people all know to give us freedom
with our production. They don't send an A&R guy to us to check with us - to
see if they like the songs or not. It's like, don't come in here and tell
me what King Diamond should sound like, and they don't. We go into the
studio, we fix a demo, and we send it to them - this is the new King Diamond
album. And that's a lot of trust that they put in us, you know. It's been
that way ever since Roadrunner. So, that gives us the opportunity to put a
hundred percent more effort behind our music. What comes out is not like a
compromise between us and some unknown goal or some difficult producer that
has been brought in to make us sound a certain way. No, we sound like we
want to sound. We write the music that we feel our music should be like.
That way we can write straight from the heart. You feel different from year
to year, you know. The things you've experienced - you have new experiences
all the time. And that comes out in our music every year. And so much,
actually, that if I go back and listen to 'Abigail' or 'Them' or whatever, I
can't really enjoy it as just an album because I was too involved and too
close to it. But I can subtly recognize how I felt back then because I can
hear my feelings in the music. Then that will bring back all of the people
that I was associated with at the time. So it becomes more like photo
albums almost to me.
MU: So how do you feel about 'House of God'?
KD: It turned out to be more pressure than there's been for awhile. More,
and better, melodies we're making. That's a hard one to write sometimes, to
actually get a little more aggressive without losing the melody. But I
think we have that here, and I think the vocals are towards the old days.
There is more of the high-pitched vocal in here than we've had in the couple
of albums. Much bigger arrangements, you know with the choirs and stuff
like that. And that's overall just more vocals going on. Then overall,
it's - from what I hear from some other people, they tell me that they can
easily absorb the songs on this album - that it's easier to understand the
songs. But I know that these songs are much more complicated really than
most any other thing we've done. Then that results in a positive thing
because that means the complexity of the music does not interfere with the
flow of the songs. That's real positive. 'Cause I know for a fact when
Andy La Rocque - who is in my opinion one of the great guitarists in the
world - when Andy comes to me and says, "Oh, I have such a hard time playing
that piece, the timing is so off from the others" - from the rhythm guitars,
what they're playing, you know. When you don't really notice it when you
just listen to it, that's the good part because it should not be destructive
in the song's flow. So we feel very, very strong about this album.
MU: Do you have any favorite tracks?
KD: I don't have any. No, and it's sort of strange because I've put
everything I've got into every one of those songs, and they each represent
something different to me. It's not just about how the vocals turned out,
but it could be how the bass guitar sound turned out within a specific song
which means something special to me. That doesn't really reflect that I
should like the song or not. It's so hard when you're so close to it. I
was in Sweden for three months for this new album - from beginning to end -
where Andy La Rocque was co-producing with me and co-producer Kol Marshall,
who also worked with me on '9'. Andy was there for almost two months. And
the rest of the band was in and out for like two to three weeks. But I was
there the whole way. So I know every little "ding-dong, ding-dong" that was
caught on tape in there. And I was there mixing the whole thing with the
co-producer. We fastened ourselves to this. So you know, you can have a
very awkward view on the album. You know how it turned out. Just kick back
and listen to it and let it just flow by you - I can't do that. Because I
sit and listen for how we did this, and how we did that, all the little
tricks and this and that. So I know everything that went on. I don't get
the kind of view that you get, and I guess it's the same when I listen to
other bands - Ozzy Osbourne, Sabbath, whatever. Those I can sit and just
enjoy for what they are. But I bet that they can't do that themselves
because they have that very close relationship too, where they're like,
"uh...I don't know..." That's how you get better always, and you can always
get a little better.
MU: Are you willing to divulge the story behind 'House of God'?
KD: It's a pretty different story than you'd normally get. It's much
deeper than we've gone in years. First of all, I set the story in a
scenario that actually exists, but the story that takes place there is
totally mine. There is a church in southern France, that has this
inscription across the door saying this place is terrible. When you walk
inside there's a figure of a devil greeting you. And actually this place
has up to 120,000 visitors or tourists come in there every year because
there's a lot of mystery that surrounds this place. I mean, it's not common
to have the devil greet you at a church. A lot of people don't want to go
in there because they believe that Satan is there. A lot of secret coded
messages are inscribed on the walls. These talk about secret graves and
people still have not found all of them. The crazy part about it is - that
fascinated me was - the theory that Jesus was there, living there, after he
supposedly was crucified. And Mary Magdalene, after he died, was there.
The saying that there is about this place is that he didn't die on the cross
but was saved and smuggled across the Mediterranean to this place. The
saying is that the priest that discovered something there was the head of
this church for awhile, and he found, supposedly, four scrolls that
indicated that Jesus was there after he was supposedly crucified. I mean,
that's a pretty big theory or story. The facts are not there. Maybe this
guy got the facts, because they also say, and this is the facts, the guy
brought whatever it was he found to the Vatican, and he came back filthy
rich, as if the Vatican paid for some secrets to be kept secret. I can
understand if they found proof that Jesus did not die on the cross - it
would completely turn over the rules of faith because suddenly the guy who
supposedly died for our sins didn't die. Then what? They would be in deep
shit. Those people that totally believe. So, I kinda used that a little
bit. But I also say in the forward, remember that most stories are usually
just exactly that - something told by someone else that usually is without
the facts to prove it. This story, however, it makes me wonder.
Then the story starts and the intro explains the theory about this real
place, and then starts the album and my story. It is a twisted journey
about a person
who gets thrown around from one twist to another. First of all, he's out
traveling, and this takes place 200 years ago, and he's out traveling in
some mountains. I'll make a short version of it, you can always catch up on
it later. (laughs) But while he's out traveling, suddenly the road changes
before his eyes, he knows he's been there many times before because he
recognizes more and he has all these wolves suddenly howling around him and
like, "Oh my god I've got to get out of here." Suddenly he's surrounded by
them. He's literally prepared to die. Then this big black, gray, and white
wolf steps out with these major blue eyes, and all the others kind of back
off. It seems to speak in his mind, without actually speaking of course,
and it wants him to follow it. He does and they end up at the top of this
mountain where there is this completely decaying church. And he follows the
wolf inside, and once they get inside, it changes before his eyes into this
beautiful church. There's some strange things in there but he doesn't pay
too much attention to that at this point. The wolf suddenly starts shedding
its skin, you know, and turns into the most beautiful woman he's ever seen
in his life. The perfect picture that he'd ever hoped of was right there
and he instantaneously just falls in love with her. He doesn't care that
she was a wolf or whatever, he doesn't' panic, he's just totally happy now.
And then they start having fun. They actually have sex and everything else,
you know, in the church, the most holy place. But they don't care, it's
just totally free will.
Then suddenly one day she says that there's
something that he needs to know. She has to give him two choices, and
they're not very nice, either of them. Just when everything was great,
perfect, she tells him that a year ago she signed a pact to be a guardian of
this church, and she only had one year. If she doesn't find another one in
this year, she cannot leave in the shape of a woman - only in the shape of a
wolf. She says, you sign the pact and take over this guardian job. I don't
know what I'm guarding, you just have to do it. If you do it, you will set
me free and I can leave this church in the shape of a woman and continue my
life. The second I step my foot outside the door, I will lose my memory so
I'll never know that I ever met you, and we won't see each other again. The
other option is, that we have one or two more days, I have seven days
left, and you will see me die before your eyes. If you don't do it, we won't
see each other again. And then he sets her free and takes over this job that he
doesn't know what it consists of.
Then he notices how twisted this church is because there are mirrors and
crosses and the result is like everything had two. The way I described it
there's other things that are not in that real church. I describe it as two
pulpits, this one with gargoyles, and the other pulpit has golden figures on
the front. Just kind of creating chaos, 'cause it's two opposites going on
that don't belong together. So now suddenly he starts feeling the
loneliness, cause there's nothing he can do, he's confined to the church
now. He can only leave in the shape of a wolf, and that doesn't give him
much. So he gets more and more desperate. He first starts drinking, you
know, and gets desperate, and he finally gets so desperate and mad that he
goes all insane. He starts smashing anything he can find that has any
relationship to the church and he ends up smashing all those mirrors,
crosses, and everything. He smashes the last one and all of a sudden he
moves and there's a big, black hole in the floor there, and he stares into
the dark, and he knows he has to go there. Better he should go below the
mountain, and he can't just stay in this church anymore either.
So he walks down there and he discovers that there's these long narrow halls
down there with side chambers - it's a catacombs. And these side chambers
are full of human bones, you know, and he just has this candle, and suddenly
he sees this glow coming from one of the side chambers. He walks in there,
and there he sees it's a life-sized statue of the Virgin Mary but it's
carved in wood. He freaks out and he starts smashing it up. He breaks it,
but it's hollow and there is something inside. What he finds is a mummy
wearing a crown of thorns. He is finding Jesus' mummy down there. He
starts unwinding the bandages and from inside this mummy's head, and out
through the empty eye sockets because there's no eyes there anymore. There'
s this light seeping out from the openings and suddenly he starts screaming
and turns around and runs screaming for his life.
He runs through the catacombs and this light starts coming after him, follow
ing him. He runs back up into the church trying to find some safety, you
know, but the light comes straight up after him and fills the entire church,
and then he sees inside the light all these different faces and bodies
swaying around. This entity starts talking to him and says that, "I am the
highest power there is, and you have gone where nobody should go, and now
you will pay for this - nobody must ever know." This person is now starting
to have a conversation, and kind of a confrontation but it's more like a
conversation, with an entity that claims to be the highest god. The entity
tells him that he will never know why they kept what he found down there.
It could be that they were keeping his mummy away from god so that god could
never make him walk on the earth again. It could also be to keep him safe
from people like you who would probably crucify him or try to crucify him
again, but we're not going to tell you exactly why. It's none of your
business. All you need to know is not what we are about, us, the highest
god - because it does refer to itself as, I am many, we are one, that way, I
am kind - and it says that you shouldn't bother with what we are, you just
need to know that we are, and that should be proof enough. This guy says,
"Sorry pal, I can't deal with that kind of stuff. If you want to me to
believe you're the highest god, you need to prove it the right way." Then
the god says, "I created god's faith for people who wanted to be mine. They
're nothing but little puppets on my strings. I just created it for the
minds who had conflict, that power, that conflict, I created it - I did all
that." This guy was still not buying it. He says to this entity, or god,
that "the only way you can prove that you're the only right god is if you
show yourselves to mankind so that everybody sees you at the same time and
they we'll all know that you're the only one that's real. Then you need to
tell us, why we are here, what is the meaning of people and life, and tell
us what happens when we die. Show us." And then the god - this entity -
does not get back to him. And he says, "You know, I bet you cannot, because
you don't know the truth because you are not the highest, you're just
another cog in someone else's higher strings and that could go on for ever
and ever." Then the guy says to the god, "You know what? I'm not going be
a servant of some unknown god. I will prove and show to you something. I
will show you that I can stand up for myself. I can make up my own mind and
take according action. That's what I'm going to do now, I'm going to choose
death. That way I'll know why I'm here sooner than else, and I will be out
of this place." This guy has an actual goal, he walks up to the highest
tower and he jumps out and hangs himself. He actually finds his piece of
mind. The last song is an instrumental piece called, "Piece of Mind". I
would never choose that solution myself. Unless I was in this scenario
where he's cursed to this church - can't really leave this church. I have
an opportunity to leave my house. This guy was kept a prisoner almost by
something that won't let him go, by chance. So that's the story, right
there.
The main things behind the story, and what I'm trying to say with that
story, is first of all, that it makes me sick inside to see all these
religious wars that are being fought today because of religious
differences - which is the reason for 90% of those wars. I mean, basically,
to think that people can fight because of a god that, I feel, I think that
man has created a lot of different gods in his own image. Not the other way
around. That's why we have so many different ones. No human being or no
religion, let's put it that way, has ever proved to everybody on earth that
they believe in the right god. Nobody's going to prove that, cause if they
did then we'd all believe in the same god, right? If one person had to
prove that his god was the right one, he would be able to show everyone
else. And then why would anyone doubt it? If it'd been proved to them?
But we do not believe in the same god because they're man-made. Since we
don't have the proof of who's right and wrong, it makes absolutely no sense
that people are killing each other in wars because they want to be the one
that believes in the right god. It's kinda like ammunition. A big wrestler
goes up against Einstein and beats him up. Because he can beat Einstein
doesn't mean he can say that Einstein's theories were wrong and that he has
a theory that's right, that two and two is three. Just because you beat
someone up doesn't mean you're right.
Nobody has ever been able to prove to mankind that they believe in the right
god. Maybe because there are no real gods. I don't know, I'm not claiming
to know, but claiming with this album to know that nobody knows for sure.
Nobody has got proof. The same goes for the reason for human life. Nobody
has proven that. The actual experience of dying, and what happens
afterwards. Nobody has proof of that. but we do walk around spending a lot
of time fearing it, and feeling bad about it. Feeling bad about a thing we
have no clue what it's all about. Another thing that doesn't make a whole
lot of sense to me - well, I don't care about dying, really, because I don't
know what that experience is about. Why would I fear it? I'm not going to
hole up and spend all my time worrying about when I'm going to die, and why
don't I understand, and why am I here. I've accepted that that's a fact.
It is like that. As long as I am alive here on this earth, I probably will
not know. The first chance I'll get to know why I was here on earth is
probably when I'm not here anymore.
I've tried to say, can't people please take it a little more easy with their
gods and their religion because we do not have proof, you know. So you have
no reason to be so stuck on your high horse, and think you are right because
you have no proof. So relax and keep it to yourself, please. It would be a
much better world if you could do just that, give me that much. That's very
much the message of the album - accepting that there are certain things we
cannot comprehend, you know. So why do we waste all this time messing
around with it, because we won't know. We simply won't know until we're not
here anymore. I would much rather, and that's what I'm doing, instead of
wasting my time thinking and worrying about things - I take that time and I
use it for things that I have facts for. I know for a fact that I'm a human
being on this planet we call Earth. I know that if I do certain things it
makes me feel good inside. I would take all that time and use it to do all
those things that make me feel good inside. When people feel good inside,
they're usually having a easier time and giving other people a helping hand
and smiling.
There is a positive at the end of the story, it's a moral. But it's a big
accusing finger against that which we have been talking about that are the
most evil. It makes absolutely no sense that people are trying to be the
one that is right about their god, because none of us will ever prove, first
of all, that they're right. That's kind of the main issue. Andy La Rocque
and I actually had talks about continuity because if you don't go the whole
way, if you don't make this to the end, you know, if you don't get into it
and you know your work, don't be constantly thinking about it. You know
some people say, "Yeah, I'm going to go to heaven." What's that? Do you
really know what that that is? "Well, it's a great place." How do you know
that? You've never been there, you've never met anyone who's been there.
It's just something you read in a old book written two thousand years ago
which nobody can ever go back on.
So why be so fixated on something, but I respect still, that some people
need gods. As long as they keep it to themselves. It kinda represents to
me - different gods represent pacifiers. It's kinda like, stick a pacifier
in a baby's mouth and calm down. Things we don't know have been known to
really upset us, worry us, fill us with fear, stuff like that. That's where
sometimes, you know, a god for some people can work as a pacifier. In that
world where people are fearing death and worrying all the time, they can
comfort themselves by saying there is a Him that is all good - not needing
to have the proof of that. That's fine, good for you, but unfortunately,
when that day comes and death starts sneaking up behind them they will
usually get those thoughts anyway because soon they will have to face their
destiny and they know that inside they do not know what it's about. That's
what it's about.
MU: So, in light of this conversation, it would seem the rumors that you
are a Satanist have been greatly exaggerated.
KD: You know what is so funny about that whole thing, when people ask me,
"Are you a Satanist?" I have to get back with another question, because
what is that? I have to ask. You explain to me first what's a Satanist to
you, then I'll tell you if I'm one of those kinds or not because most people
completely misunderstand that. Satanism was never, ever any type of
religion. It's a life philosophy described in that book of Anton Levay's
called The Satanic Bible, which you might guess pretty wrong because usually
if something's called the Bible it leads to a religion. But that doesn't
deal with wicked things at all or spiritual things. It is the life
philosophy down to earth. I had made points he described in his book, way
before I ever read that book, so if that makes me a Satanist, than sure,
whatever, it doesn't matter what people think I am.
If you think I'm a Satanist drinking babies' blood or hurting other people,
then you're dead wrong. So, it depends so much on how people look at that.
People forget that the people that do commit these completely insane crimes
like killing or sacrificing a baby... Why do they do it? Well, they do it
because they heard that that's what Satanists do. Where would they get a
thing like that? From the church usually because they're the ones saying
Satanists do this and that. I would never say Satanists would do that,
insane people might do that maybe, but never a person that believes the
Satanic philosophy.
MU: What about the "black metal" church burnings in Norway?
KD: Thats another thing that's interesting 'cause most of the time it's
presented - a little bit like you do, where you say "burning churches" - one
church, got burned. Not a lot of churches. I don't know the facts, so I
can't really speak my mind about it, but I know it's one church. I know
another scenario, one guy killed another guy and they were both in a band.
But with the church, I don't know the facts so it's hard for me to say.
There might have been one or two guys, who were or weren't in the band, with
6-10 other young people. One of the murderers lights up and sets fire to a
stick and throws it at this church, oops, it went inside, "Damn! Oh god,
look at it, it's burning!" I don't know how it happened, or who was in
there, I really don't know.
I do know another thing, 'cause it was brought up to me by people Norway by
a journalist type. Let me tell you something, last year in Texas, where I
live, there was 200 church burnings. No one has ever found out why or what.
It seemed more like it was unsatisfied members of the congregation. It was
maybe a pair - a couple - breaking up and there was one getting back during
a divorce at another person in the church, and who knows what. But nobody
found the reasons why. It had nothing to do with - when people do that with
that intention, they paint crosses and crazy shit, you know. So that was
never it. So, I said, you know, I can't relate to your thing. And then he
said, but what about the one guy who was from this black metal band and
killed the other guy. I don't know the background, do you know the
background? He's like, well, no not really. Let me put it this way, if it
was a scenario where the one that killed the other did it because the other
one had raped his sister then I understand why he did it. It doesn't make
it right because it is against the law, and there are consequences when you
break that. But I can understand why he did it then. I might have done it
myself, and not been able to control myself according to the law if that
thing happened to one of my family members. But then it makes sense to do
that. Then I don't think it matters whether he's in a band or not. I mean,
what about all the other things that happened that week and were mentioned
in the paper. Why do you bring up this stuff just because the guy was in a
band? That's why it gets sensationalized. Then I told him, in Dallas
yesterday, four people got murdered, and two of them over a hot cab, and
another one over a jacket. I mean, talk about insanity. You're talking
about two guys fighting for a knife, and one kills the other with the knife.
We don't even know what their quarrel was about.
So it gets blown out of proportion big time, just because "it's black metal,
it must be bad." Most of those black metal bands I have met - what they're
about is shock effect. They want to shock people into thinking about
things, which I kind of respect. They have their ways of doing it, and I
wouldn't write the lyrics that way, but that doesn't mean I condemn their
way of writing their lyrics. They do certainly create a stir and it make
some people get bent out of shape. When I talk to them, they are just as
down to earth as anyone else is and calm and very intelligent people. But
that, you know, it's those songs, they create those facades.
I mean, the holiest priest, standing with his facade in church, nobody knows
that he has been false, or what he has been doing. Nobody knows. My god,
do we have a few scenarios like that. Where I'm like, oh my god, you put on
a nice coat and people think you're a nice person; you put on rags and
people take it to mean you're bad person. That's always bothered me. I
hate that kind of stuff. It's kinda like, if I, for once, want to go to a
nice restaurant, and get a nice expensive meal, once you step up there and
they say like, "Ooh, no, you can't come in here without a tie." What? What
does that have to do with it. I probably have much more money than you
have, standing in the doorway with your tie on. Does that make you better
than me? That is such a crutch. I don't own a tie, I never will, I hate
wearing ties.
I can probably learn a lot more from speaking to a guy who lives under a
bridge, than I could from this snobbish executive from some office, you
know, who doesn't want to talk to me because I'm not wearing a tie. Now we'
re in to talking about life philosophy, right? And how human beings act
with such strange views. That's what King Diamond is all about. That's the
underlying theme in all the King Diamond albums. Then those are molded into
a horror story so that if you just want a story that hopefully interests
you, it's there, if you want to dig a little deeper, it's there.
On 'Fatal Portrait', our first album, it deals with a lot of jealousy.
'Abigail' - it used to be if you were born outside of marriage, you're
called a bastard - it was inspired by something my mom told me. 'Them' and
'Conspiracy' is about greed. You can get it on all kinds of stuff. I even
dealt with child abuse because it made me sick to see how child abusers were
being released from jail and go straight out the next day after being
released and do the same thing again destroying another young kid's life.
But that's my point of view. I raise the questions in a story and I don't
say in the stories what I think is right or wrong because I respect human
beings' individuality. I want to be respected for being an individual and
having my own thoughts and ideas, so therefore, I know that I have to
respect others people's opinions and ideas about things too. What
individual means is one of a kind. It's an interesting world to observe,
you know. Different human beings are very interesting to observe. I don't
think I'll ever run out of material to write about. (laughs) All I have to
do is keep my eyes open and look around me.
MU: You're going to be headlining the Milwaukee Metalfest this year. This
isn't your first time playing the festival. How do you feel going back this
time around?
KD: It's a great big place, you know, and there's a lot of crazy metal
bands there. It's a very good place to be. We played the first, very
first, Metalfest ever, with King Diamond actually. And then we played last
year with Mercyful Fate. That's the only two times we've been there. It
will be cool. That's a big stage so we should be able to put up our entire
production there so you can come and see me being cremated in a coffin in
the end.
MU: Cool!
KD: You see! See how twisted it is, right? You come and see me being
cremated, and "Cool!"
MU: It's the spirit of metal.
KD: That's what it is. And it makes people think, and that's what it's all
about. Make people think about certain questions and messages and then let
them make up their own minds.
MU: You mentioned the tour starts in July, that's in the U.S.?
KD: Yes, the tour starts the 20th of July in L.A. I think we have 32 or 35
shows scheduled. Then after that we go to Europe as quick as we can. There
'll be probably five weeks break while the containers are being shipped to
Europe with the whole production. I think it will be a couple of weeks into
October, when we start in Europe. That should probably take us up almost
until Christmas. Then we still have South America to do as well. They're
crazy down there. Brazil, Argentina, and Chile...
MU: Who will be supporting you on the tour?
KD: Shadows Fall, I think they're called, and then a band from Finland
called Babylon Whores, and a new band on Century Media called Deep. That's
the bill - those four bands. It's a lot of bands and all of them have
different styles, and that's the way it should be.
LINKS |
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KING DIAMOND
http://www.geocities.com/SunsetStrip/Amphitheatre/1236/index.html
http://come.to/the.sabbath
METAL BLADE RECORDS
http://www.metalblade.com
METAL UPDATE
http://www.metalupdate.com
CREDITS |
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Interview: Laura German [ laura@metalupdate.com ]
Editor: Brant Wintersteen [ editor@metalupdate.com ]
Webmaster: WAR [ war@metalupdate.com ]
Photography: http://come.to/the.sabbath
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