Review Summary: Don’t call it a Conspiracy
With the prospect of King Diamond ever releasing the album he’s been working on seeming less possible by the day, we can take solace in the numerous bands and spinoffs that have filled in the void. Lex Legion comes with more legitimacy than most, featuring an assortment of the King’s most talented players including drummer Mikkey Dee, bassist Hal Patino, and guitarists Andy LaRocque and Pete Blakk alongside Pagan’s Mind vocalist Nils K Rue. It certainly raises the intrigue and pressure in seeing how their self-titled debut will pan out when one considers that it features the lineup that recorded “Them” and Conspiracy with a different singer.
At the very least, it’s incredible to see these musicians still capable of delivering that occult heavy metal flair with the touches only they can provide. The guitars hit that old school balance of neoclassical ornamentation and hard rock sneer while the drums spruce up the grooves and gallops with Dee’s signature prowess. While the vocals may not be quite as narrative driven, largely occupying a more power metal-leaning wail, there are enough layers to keep the vibes in a similarly dark ballpark.
While the album’s thirty-four runtime is enough to remind us that it isn’t meant to be the third coming of Abigail, it’s interesting to see how they reconcile the spooky metal spirit with these fairly straightforward songs. Tracks like “Gypsy Tears,” “(I Am) The Resurrected,” and “Life Eternal” strike the balance nicely as fairly accessible verse-chorus structures are bolstered by ghostly wails and pounding rhythms. It’s also neat to see how the instrumental segments on songs like “When Stars Align” and “Dreams Of Darkness” directly channel that old theatrical flair, culminating with the calm comedown on “Far Away” (not to be confused with Mercyful Fate’s “To One Far Away.”
Overall, Lex Legion’s self-titled debut successfully brings the extra air of legitimacy to a well-tested formula. While the compact layout can make it seem more like a proof of concept than a fully fleshed out release, there’s quite a bit of promise in what the approach has to offer. The musicians have maintained the chemistry from years past and I appreciate the production not throwing in too much of a modern crunch, giving it an instant edge over similarly premised projects like Force of Evil and Denner/Shermann. I may still hold out a bit of hope for what the real one may actually offer, but fans of all things King Diamond are encouraged to give this a shot.
