Despite the bands and scenes Mercyful Fate influenced and played a key role in creating (hi there Metallica, Slayer, Ghost, Norwegian black metal and just about everyone else), the group's initial run was a short one, spanning only 1981 to 1985 and only two full-lengths, Melissa and Don’t Break The Oath. Though King Diamond went on to see success with his solo career and Mercy - as King calls the band - reunited during the ‘90s, it’s really Melissa and Don’t Break The Oath that define the band’s massive impact, both musically and aesthetically: Don’t Break The Oath’s album cover, surely one of metal’s best, is the visual embodiment of “A Dangerous Meeting” or “The Oath”. It’s why Mercyful Fate’s sporadic activity since the 1999 hiatus is among metal’s most frustrating intrigues (along with Sepultura’s inability to make it work with the Cavalera brothers, but that’s another story for another time).

Mercyful Fate guitar players Michael Denner and Hank Shermann, along with ‘90s Fate member Snowy Shaw, have decided to try to rectify that frustration. Since inaugurating the Denner/Shermann project in 2014 with debut EP Satan's Tomb, Denner/Shermann has attempted to revive the spirit of Mercyful Fate through both the band's trademark sound as well as its visual and conceptual flair (i.e. the occult, the occult and... the occult). For the most part, the trick has worked and both Satan's Tomb and now Masters Of Evil recall Fate's glory days, though neither the EP nor this debut full-length match those heights. But this is still a pretty effective way to time-warp back to underground metal's '80s version of itself, which makes the listener want a full Mercyful Fate reunion that much more. 

That said, let's talk negatives first. This scribe isn't the only one to think that the production does a (very) great disservice to both Denner and Shermann's playing, as the guitars - and their actually quite slicing leads - should be way upfront and a lot cleaner, rather than being neutered behind production that is weaker than this material calls for. The other element that takes away from Masters Of Evil is the high register vocals of vocalist Sean Peck (Cage). Though the higher vocals are a prerequisite if you're going to channel Fate and they surely match the Denner/Shermann concept, they also seem far too filled with hero worship. Which is not to take anything away from Peck's performance, because his lines are sung strongly, professionally and with conviction. But more aggressive vocals might have given this project more gravitas. 

But, as with any project featuring this type of collection of players, highlight moments are going to flow freely. "Pentagram And The Cross" begins with dual leads taken directly out of 1982's most beloved moments, while its chorus strangely gets lodged in your brain, even if it's not the strongest Denner and Shermann have written. Elsewhere, both the title track and "Escape From Hell" feature genuinely menacing moments, the playing sounding inspired and with the conviction to re-ignite the Fate legacy, while "The Wolf Feeds At Night" and "The Baroness" are filled with so many Denner and Shermann hallmarks that it's almost comical.  And, hey, if solos are your thing, there's plenty to take in here. Just look at who's playing the six strings. 

Though Masters Of Evil is a flawed album, its various strengths do make themselves very aware, and forcefully. All of which leads to one simple question: has the call been placed to King yet?