Published on Apr 22, 2002
Here’s a rhetorical question for you: Why hasn’t anyone tried to
make a movie based on any of King Diamond’s albums? Cripes, they
turn everything that Stephen King writes into a film – some very
good, some so bad that if I were King I’d sue for defamation of
character.
Let’s face it, the Danish-born black-metal
ubermensch has made a solo career spinning horror stories in
his concept albums.
Abigail, Diamond’s 1987 release (and second solo effort) is
said to be his masterpiece, and the story told within is much more
coherent than his previous effort
Fatal Portrait – but there’s only so much of the story one
can tell in 45 minutes of music, and I’d dare say there are still
some holes in the plot I’d have liked Diamond to fill in.
Abigail tells the story of a baby conceived out of wedlock,
only to be killed by Count De La Fey when he threw his cheating
wife down the stairs. The spirit of Abigail continues to live on in
the castle in which she died – until the property is claimed by
heir Jonathan La Fey and his wife Miriam Nateas. Despite the
sinister warning from the Black Horsemen (who once were servants to
Count De La Fey) and the cryptic “18 will become 9” theme, the two
claim the mansion… and then, the fun begins.
Abigail is, in and of itself, a solid horror story – that
is, it
could have been. This isn’t Diamond’s fault, since he’s
limited to the length of a record (CDs still being new technology
in 1987) to tell his story, and the hope of a double-album probably
out of the question. At times, it feels like the plot line is being
rushed. such as Abigail’s spirit suddenly taking over Miriam and
causing an overnight pregnancy (thus the “18 is 9” theme).
Especially near the end of
Abigail, it seems like too many loose ends aren’t tied up –
though I’d argue that
Abigail II: The Revenge didn’t necessarily try to take care
of these loose ends 15 years later.But, that’s another review.
(Also worth noting that you really should have the lyrics in front
of you when you listen to
Abigail, if merely to follow along with the story. At times,
Diamond’s trademark falsetto distorts what he’s singing, and it is
hard to keep track when flying solo.)
Musically,
Abigail is quite sound, with a bit of a Gothic sound to the
music thanks to Diamond’s unique songwriting style. This is black
metal not necessarily at its most evil, but certainly at a creative
peak. You don’t necessarily have to subscribe to Diamond’s
philosophy (though, to be fair, he’s been less of a proponent of
Satanism and more of a macabre storyteller in his solo career) to
appreciate this album… even though Diamond is, admittedly, an
acquired taste.
Abigail is a marked improvement for Diamond and crew, even
if the story begs for more details to be told. Unfortunately for
Diamond’s fans, he would move on to a different tale with his next
two discs, leaving the fate of Abigail De La Fey a mystery until
2002.