Masters of Evil

It wasn't long after the Satan's Tomb EP that Denner/Shermann would drop their first (and only) full-length album, with a cover even MORE reminiscent of the Mercyful Fate classic sophomore. So the idea this projects is that maybe they'd be getting a little more archaic in sound to resurrect the legendary vibes we are still all feeling off that 1984 staple (which, let's face it...you shouldn't have the right to VOTE if you don't own a copy of Don't Break the Oath). And maybe the music pulls that off, but only about 1-3% more than the prior EP. Nope, this is still a hybridization of the guitar duo's heavy, distinct grooving metal guitars interspersed with the more uppity, energized style of power metal that came out of the US scene in the 80s, and the intensification of Judas Priest in 1990...

Which is nothing to scoff at, in fact it's a great fucking idea, and to their credit, the Masters of Evil pull it off for the majority of this 42 minute run-time. Though they might seem slightly less frenetic than a few on the EP, these tunes are better structured, and Sean Peck is even more reserved, in fact this is one of my favorite of his performances ever on a studio album. He's got the pitch, the fierceness, and yet he reins it in at any opportunity, never losing himself off the top. He's a great compliment to the riffing might being manifest below him, and yet when necessary, like in the bowels of "Son of Satan", or the chorus of the title track, he lets go this amazing Halford scream which had me laughing and weeping tears of joy in unison. In fact, the mix and some of the lines he projects remind me a lot of Rob, just with the different natural timbre to his voice. Snowy Shaw is once again great on the mix, though I don't think his beats stand out from the other instruments as much as the EP (a good thing).

I also really enjoy the penchant for lurching into some "Carmina Burana" operatic moments, as if you'd just stepped into the heavy metal equivalent of The Omen, it just spices up what is otherwise a fun record with rolling riffs like "The Wolf Feeds at Night" or the title track. Not every riffing pattern is legendarily catchy, but there's clearly a ton of effort that went into this one, and the performances are set at just the right momentum to let the shrill vocals shine, which has always been one of Michael and Hank's fortes (the rest is history, right?) Masters of Evil is no Don't Break the Oath, but it's a damn good time which takes the DNA from that masterpiece and then combines it with some of the metal which followed it, like a Jurassic Park of heavy/power metal. A well written record that I haven't gotten tired of in a half-decade, but sadly another swan song from a project that was probably cut down too soon. I mean, if they took this material and then cultivated it even further, who knows what limit they might have crossed. But I'm happy to take what we've gotten.

-autothrall
http://www.fromthedustreturned.com

In 2015, Denner/Shermann released an EP entitled 'Satan’s Tomb' to an extremely positive critical reception and since this, the heavy metal world has waited with bated breath for Denner/Sherman’s full length debut album. Michael Denner and Hank Shermann are arguably the best duo to ever come out of Denmark, rising to fame in the early 1980’s with Mercyful Fate, releasing the highly influential 'Melissa' in 1983 and 'Don’t Break the Oath' in 1984. Due to Mercyful Fate’s talisman, the extremely charismatic and unique vocalist, King Diamond, both Denner and Shermann have often being eclipsed by the majesty of King Diamond. However, 2016 is the year that Denner and Shermann step out from behind the veil and show that they do not need King Diamond and can be judged on their own merit, as opposed to just ‘them blokes from Mercyful Fate’.

'Masters of Evil' wastes no time in embracing the skills and sounds familiar to fans of Mercyful Fate, with an album cover which has eerie connotations to 'Don’t Break the Oath' alongside a guitar tone which is instantly recognisable as both Denner and Shermann. Denner/Shermann play with a beautiful twin guitar harmony that would put Iron Maiden’s recent output to shame with that hint of Mercyful Fate that was influentially evident on Metallica’s 'Ride the Lightning'.

The first thing that is noticeable about 'Masters of Evil' is the vocals of Sean Peck. On a first superficial level, Peck has vocal similarities to that of King Diamond. However, Peck is much more raw and coupled with a piercing scream that reaches and pushes more towards Tim ‘Ripper’ Owens. In fact, 'Masters of Evil' gives a little insight as to what Judas Priest might have sounded like had Rob Halford never returned to Judas Priest. This is seen particularly during 'Son of Satan', the hugely Priest sounding 'Escape from Hell' and the explosive title track. There is however, much more to Peck’s voice than just a ‘sound-alike’, 'The Wolf Feeds at Night' descends into a groove that wouldn’t be out of place on 'Sabbath Bloody Sabbath' with Peck doing a better impression of Ozzy Osbourne than the Double O himself these days. But once more, do not think that 'Masters of Evil' is some weird mash up of Judas Priest and Mercyful Fate because it is not. Once Denner/Shermann get going, each song is infectious, catchy and full of the hooks that is only gained from years of experience that will leave you wondering why you never picked up this album instantly. The devilishly rousing 'Angel’s Blood', the eternal conflict of the 'Pentagram and the Cross', complete with excellent twin guitar harmonies, to the Biblical swagger of 'Servants of Dagon' and the utterly fantastic closing epic 'The Barones's are all examples of Denner/Shermann’s growing sound.

Going back to the start, the 'Satan’s Tomb' EP released in 2015 became just a teaser as to what Denner/Shermann are truly capable of with 'Masters of Evil' being not just a fantastic album, but also surpassing all expectations.

The two guitarists from legendary heavy metal band Mercyful Fate have regrouped for a follow-up to their 2015 EP, this time delivering a full-length album. As before, they are joined by Sean Peck, the vocalist of the Californian metal band Cage, whose wide vocal range is an apt fit for their sound. Unsurprisingly, this album sounds every bit like you would expect it to sound: a lot like Mercyful Fate. You can expect to hear all the great guitar work complete with the odd syncopated riffing and superb lead work. And of course, there is plenty of the vocal acrobatics, much of which are executed quite well. However, they have deviated a good bit from those classic albums in a couple salient ways.

The most obvious difference is that this album is a lot heavier. The guitars are far more bass-heavy and the percussion is a lot denser. Interestingly enough, it sounds a lot more like Cage and Peck's vocals only add to this vibe. Now I'm certainly not one to object to an artist's wanting to take a heavier route. But much of the attraction a lot of heavy metal is that it doesn't rely on heaviness alone to make its statement. I don't think that's entirely the case here, but I do think that a less-is-more approach would have really improved the final product here. As it is now, the percussion is so thick and the layers are so closely packed together that the album is at times straining to the ears. For lack of a better word, it's just too busy. It's like trying to eat a bowl of soup with a thousand different ingredients held in a broth made of grouting compound.

Secondly, there are some interesting aspects to the vocal delivery here. Just like King Diamond has a wide range, all the way from a grittier, lower-end sound all the way up to his signature falsettos, Peck has the same wide range, but he executes it completely differently. At times, you can hear Painkiller-era Halford, and other times he seems like he's channelling Ozzy. On the track “The Wolf Feeds at Night” he sounds exactly like he just finished auditioning for a Sabbath cover band. His vocals certainly fit without a doubt, but in the sections where the vocal melodies take his voice into the higher registers, you can't help but feel like he's just a less competent King Diamond.

If you've read this far, you might be tempted to think that this album isn't very good, but that actually isn't true. It's definitely a good example of some of the great classic artists coming together to keep the torch of heavy metal alive and well. But when your resume includes such incredible classics like Melissa and Don't Break the Oath, you just have a lot to live up to after setting the bar that high. Denner and Shermann haven't lost much when it comes to their ability to compose compelling and interesting songs. In fact, the depth of a lot of the work here is in some ways greater than their previous stuff. So this album is in no way an example of some old guys resting on their laurels and hoping to cash in on a fan base to make an easy buck. Not remotely.

I think it really comes down to the fact that I just wasn't able to tap into the increased density. But for what it's worth, I feel the same way about Painkiller and most of Cage's work as well. So I think based on that, it goes without saying that if you like Mercyful Fate and Cage, and you also think that Painkiller was the best album Priest ever did, you'll probably want to check this out.

Originally written for The Metal Observer.

A skull, a hand, a yellow background. The artwork whispers "Don't Break the Oath". It is created by Thomas Holm. Needless to say, he was also responsible for the cover of Mercyful Fate's classic. Denner / Shermann are not afraid to put themselves under pressure, they select the most challenging benchmark. These Danish grandpas know no fear, but the question is whether courage meets creativity or not.

Well, it goes without saying that these veterans are too experienced to molest the audience with shitty compositions. All of us who cannot hide a certain weakness for occult metal know that Denner / Shermann have a knack for songs that combine atmosphere and heaviness. Furthermore, it is well-known that their slightly bulky patterns are never at the expense of the accessibility of the songs. When considering these facts, a more or less ordinary track like "Pentagram and the Cross" appears almost trivial. No bad song, but its banal chorus lacks of depth and the unimaginative ending also does not constitute an advantage. However, Denner / Shermann did not return to get scathing reviews. Therefore, "Masters of Evil" offers new classics which cannot be ignored. However, as much as I regret it - I am talking about a comparatively small number of fantastic pieces. Only two tracks give me an adrenaline kick.

"Son of Satan" bundles the strengths of the formation. An ominous beginning, a dramatic chorus and ecstatic vocals are propped up by a solid level of heaviness. Tempo changes and breaks and, of course, frightening lyrics add the final touch. The relatively straight title track shows the gruff side of the band and the chorus hits the mark due to its dichotomy. Its first part is focused on pure harshness, but a surprisingly occurring melody line shapes a harmonic second part.

The songs of Denner / Shermann in general, and especially those of "Masters of Evil" cannot be blamed for predictability, although their way of proceeding has not been modified over the last 35 years. Yet one has to say that, for example, the songs of Mercyful Fate's first full-length have spanned a broader range of compositional formulas. The progressive "Satan's Fall" and the straight "Black Funeral" tasted completely different, while "Masters of Evil" is less exciting or, expressed positively, more homogeneous; as always, it lies in the eye of the beholder. I needed time to decode and enjoy "Satan's Fall", yet now I miss a similar tune on the here presented album. ("The Baroness" wants to be the epic monument of the album, but It's no omission with fatal consequences, but sentimental guys like me have to get used to this fact. Due to the more or less similar song patterns, the most surprising detail are the vocal performance on the solid "The Wolf Feeds at Night", because Peck imitates Ozzy perfectly. But he never tries to sound like the King, although Diamond's style is not as unique as one might think. Just listen to Ancient's cover version of "Black Funeral" and you will agree that the performance of the King is reproducible.

All in all, I am slightly disappointed. Admittedly, the sound leaves not much room for improvement. Furthermore, the mostly acceptable songs do not lack of variety, but they suffer from this "the more things change, the more they stay the same" syndrome. "Masters of Evil" is, by objective standards, not bad. The attitude is still authentic and the oath remains unbroken, but magical moments are a rare commodity. I hope that the old warhorses have enough time to release further albums in order to show their whole potential, before their (hopefully) "mercyful fate" is beckoning.

Let me start off by saying Mercyful Fate has always been one of my favorite traditional heavy metal bands, the classic 80s era is nearly unbeatable and the mid 90s stuff like "Time" and "Into the Unknown" is severely underrated. So when I say what you will read in this review, you know it comes as very high praise. After many listens since I first received it in the mail, I've decided Masters of Evil is on par with most classic Mercyful Fate albums. I was already a big fan of this project when they released their EP "Satan's Tomb", but they must have tightened up their songwriting even further because every single song on here is better than what was shown on the EP (And that's not a stab at the EP because it was fantastic) this just shows how great the chemistry of the band has evolved.

Maybe I'm biased because Sean Peck is one of my favorite vocalists and lyricists, but besides his killer vocal delivery, that spans so many styles, some King Diamond falsettos appear in a couple tracks, he actually sounds super gritty and Jorn Lande-ish in parts of "Pentagram and the Cross" and I guess Ozzy decided to make a guest appearance on "The Wolf Feeds at Night". What would a Sean Peck performance be without killer screams though too? Well, of course you can hear his signature style thought out much of the album as well. The vocal melodies themselves are heavily reminiscent of both Mercyful Fate and Cage at times, which obviously makes sense. Another thing I have to commend is The Omen-esque choris and church bells in "Son of Satan" (Get it? Son of Satan? Damien? The Omen? Well, I thought it was clever)

Now let's talk about Sean's amazing lyrics, which are the kind of well written occult stories you'd expect from a band that's essentially Mercyful Fate MK II, that even King Diamond would be proud of (Especially the lyrical genius of the Lovecraftian "Servants of Dagon") Sean's attention to detail, most notably in "Angel's Blood" (Which personally reminds me of the TV show "Supernatural" take these lines for example "Fire from the outlines of the sigils and the runes, burning holy oil made it impossible to move") or "The Wolf Feeds at Night" (Which definitely has a Stephen King feel to it) is just immaculate much like King D himself. I also have to mention I love the nod to Cage, that only the fans would get in "Pentagram and the Cross" (Witness the "Rise of the Beast", even the way Sean does the vocal melody is like the Cage song "Rise of the Beast" really cool fan service there.

So, now you know how great the lyrics and vocals are, but I've yet to say hardly anything about the actual music and what would the lyrics be without the music? Sure the lyrics in "Servants of Dagon" are genius, but the music also makes the song how perfect it is, the bluesy groovy main riff makes it really feel like you're at a ghost town at the edge of a sea, impeccable atmosphere. Not to mention the bass intro and fills in that song are some of the best I've heard in a long time, actually the bass in general is pretty great on this album, little bass fills are scattered all over and they're sick. Oh and Snowy Shaw's drumming really gives the album that extra aggression these songs deserve too and he has a bunch of cool drum fills spread out in the album. The backbone of the band does a great job at showing off when necessary and keeping the pace of the music the rest of the time.

Speaking of riffs, the riffs in this album are crushing, a good mix of classic Mercyful Fate (Especially the first two songs on the album) 90s Mercyful Fate (Tracks like "Servants of Dagon" or "Pentagram and the Cross") and of course there's some Cage sounding tracks ("Escape from Hell" automatically comes to mind) Oh and the main riff to "The Wolf Feeds at Night", sounds very Ozzy inspired, (Bark at the Moon, anyone?) fitting because of the vocals in certain parts of that song.

If you can't tell by now, the music is damn good, so damn good, it should be a sin for it to be so good. Michael Denner and Hank Shermann clearly still have that distinctly dark and haunting touch that only they can deliver when writing guitar melodies. Such as the intro melody to the title track "Masters of Evil" or the epic "The Baroness" which have that classic horror vibe very few guitarists can capture like Denner and Shermann do. The soloing on this album is just as good as you'd expect from one of the best guitar duos of metal as well. The trade offs in the album opener "Angel's Blood" should be enough to hook most, but really all the guitar work is fantastic here, it's hard to even choose a favorite solo section because it's all so good.

All in all "Masters of Evil" is a monumental album and will surely go down as one of the best power/heavy metal albums of 2016. If you always wanted more of that classic Mercyful Fate sound and don't mind a bit of modern influence being added, along with an absolutely exceptional, diverse new vocalist, why haven't you already sold your soul for this album?

Round two of the Denner/Shermann project helmed by the eponymous Mercyful Fate guitar duo takes the agonizing tease of a Mercyful Fate reunion to a whole new level. While “Satan’s Tomb,” the group’s first EP, did a swell job rubbing its Mercyful Fate breasts in our face, “Masters of Evil” finds a way to further explore the unrelenting agony of hearing Michael Denner and Hank Shermann create new music in the vein of their legendary heavy metal titan. “Masters of Evil” is developmentally superior and more enticing on a musical level compared to the four-song platter which served as the first collaborative effort between the two in years. “Satan’s Tomb” was the appetizer to warm up the black mass for the Satanic feast Denner/Shermann offer here in the form of multiple dishes covering many Mercyful Fate eras. It makes my inner self squeal like a succubus.

The only wheel of the Denner/Shermann vehicle that brought the circular gyration device count to an odd number on “Satan’s Tomb” was Sean Peck, but that’s because he was tasked to fill the shoes of King Diamond—good fucking luck. But “Masters of Evil” allows Peck to venture outside of his safe-vocalist cage (it was unintentional, I swear) and truly show his power as a singer in this setting. His traditional stern voice and high-flying screams sound excellent; there was never any doubt the man is a banshee. Peck, however, comes dangerously close to mirroring the wild falsettos and mannerisms of King Diamond at times. He twists his voice to match the sinful atmosphere of classic Mercyful Fate while sticking to his own perks and talents as a vocalist. What the hell is he doing on “The Wolf Feeds at Night,” an Ozzy impression?

“Masters of Evil” changes nothing musically from the template of the EP. The tracks are geared to support Mercyful Fate-esque riffs and ideas that are drenched in the robust riffing style of Judas Priest in a “Painkiller” coat and even Satan’s Host at times. The project sounds a hell of a lot more comfortable than “Satan’s Tomb,” which I assume was used to shake off the creative cobwebs before Denner and Shermann whipped out the big guns. Denner and Shermann cover various flavors of the Mercyful Fate spectrum, launching into faster bits echoing “Don’t Break the Oath” and more mid-tempo pieces which sting with the bite of “Time” or “Into the Unknown.” Their idiosyncratic solos are clearly the highlight of the record, and ring with the same magnetism that was a paramount feature of the Mercyful Fate sound.

The Denner/Shermann troops even have the cojones to tease an epic in the form of “The Baroness,” far and away the most detailed anthem here. The soft nod to “To One Far Away” popping out of its tail offers a nostalgic tribute to times past without giving the impression that Denner and Shermann are desperately clinging to their former glories. Atmosphere, a vital component to Mercyful Fate-esque stuff, is thankfully nailed down, due in part to the wicked vibe and the lyrics, which are ridiculously tied to familiar themes. You know “Masters of Evil” is the real deal when Sean Peck, longtime vocalist of Cage—a Christian band—proudly sings of Hell’s triumph and harlots swallowing demonic seed in the name of Satan. I guess Mercyful Fate just has that effect.

This review was written for: www.Thrashpit.com