The metal legion is the law
Of the many metal legacies that were spawned in the genre’s 80s heyday, few can hope to compete with the one established by King Diamond, both in the project that bears his stage name and his several stints with Mercyful Fate. The number of recent NWOTHM adherents paying tribute to the signature blend of dark theatricality and virtuosic musicality of the originals has swelled significantly since the late 2000s, spearheaded by the likes of Germany’s Attic, Sweden’s Portrait, and the thrash-infused American outfit Them.
Yet when it comes to emulating the original with a sense of gravitas, it goes without saying that a band comprised primarily of the same musicians who were directly connected to the famed falsetto-toting teller of ghostly tales would be at a strong advantage. Thus stands the newly minted debut of the long-contemplated super group Lex Legion, conceived back in 2008 by former King Diamond guitarist Pete Blakk and drummer Mickey Dee for the purpose of creating music the same way they did in the 80s and delivering a steel-clad gauntlet of greatness appropriate to 2026.
In keeping with a band enjoying the membership of four-fifths of the membership that birthed the late 80s feat of sheer genius that was King Diamond’s Them and most of what produced its two equally colossal successors in Conspiracy and The Eye, Lex Legion is a masterclass in capturing the mystique of said era. It benefits to a sizable degree from the steady production hand of longtime King Diamond guitarist and associate Andy LaRocque, who seamlessly translates the highly retro character of the songwriting into something palpable to the present day while also fielding much of the six-string wizardry adorning each song.
Likewise, the rapid-fire battery and raw power of Dee’s performance at the drum kit help to fuel the modern character of an album that is otherwise a throwback to 1988. But the lynchpin that truly sets this endeavor apart from its competition is the vocal performance of Pagan’s Mind frontman Nils K. Rue, who brilliantly approximates the ghostly character of Diamond’s persona, but takes it to a rawer and more forceful place that also recalls elements of Rob Halford and Geoff Tate.
Atmospheric splendor and impact-based metallic fervor are distilled into 9 individual sonic chapters with a clear eye for brevity, to the point of mimicking the scope that was the norm during the days of terrestrial radio’s dominance. Dark and forbidding yet highly catchy anthems like the opener “Sleep Eternally” and “Gypsy Tears”, both of which preceded the rest of the LP as promotional singles, are a case study in how to scale back the sometimes long-winded offerings of King Diamond’s late 80s and early 90s era into something easily digested by the average rock or metal trustee without losing its immersive character.
Likewise, the manner in which the songs seesaw between mid-paced, atmospheric narrative verse segments with a steady groove to driving, speed-infused bursts during the chorus and solo sections accomplishes the perfect dynamic contrast to a template that is almost uniformly hard and heavy. Other subsequent bangers like the shuffle-happy cruiser “When The Stars Align”, as well as the speed-obsessed “Life Eternal” and the riff-happy “Lost Inside” take the same concept and heighten it further by blurring the lines that separate heavy metal from thrash metal in both the riff and drumming departments.
For an album that is mostly a straight shot of no-nonsense aggression with a side order of creepy vibes, the line that separates an overt banger from a mini-epic is more a matter of seconds than minutes, yet it is impossible to miss. The multifaceted journey through metal’s answer to a haunted house in “(I Am) The Resurrected” clocks in at just under 4 and a half minutes and features a mercilessly memorable chorus hook, but the number of twists and turns it throws into the mix before calling it a day is many.
The breakneck speeder “Dreams Of Darkness” and its technically charged successor “Saviours” tread a similarly elaborate path, not to mention feature some of the most insane guitar solo interchanges between LaRocque and Blakk since their tenure with King Diamond. And just when it seems that everything in the old school arsenal but the kitchen sink has been thrown into the mix, the whole thing ends on a serene acoustic guitar outro with wailing harmonized leads to boot “Far Away”, recalling another fixture of King Diamond’s seminal era and also giving bassist Hal Patino one of his few opportunities to break into the foreground of the arrangement for a spell.
It is said that good things come to those who wait, and given that this album and the project bearing its name had been on the proverbial back burner for almost 2 decades before coming to light, it’s safe to say that the old adage has the ring of truth. This is definitely a project that has legs and massive levels of potential in the future, not to mention a golden opportunity for one of the most competent voices of the current metal world, namely Nils Rue, to be attached to something permanently since Pagan’s Mind went into a 15-year hibernation period in the studio.
Lex Legion is by no means a replacement for the original master of metal theatricality, but with nearly two decades having past since King Diamond’s last full length release as well, it’s is sure to ease the withdraw pains for those that have been waiting for a new tale of otherworldly horrors as only he can deliver while also providing a different twist on it than what many of the younger disciples of the face-painted monarch.
Release Date: June 12th, 2026
Record Label: MNRK Heavy
Genre: Heavy Metal
Musicians:
- Nils K. Rue / Vocals
- Andy LaRocque / Guitars
- Pete Blakk / Guitars
- Hal Patino / Bass
- Mickey Dee / Drums
Lex Legion Track-list:
- Sleep Eternally
- Gypsy Tears
- When The Stars Align
- (I am) The Ressurected
- Lost Inside
- Dreams Of Darkness
- Saviours
- Life Eternal
- Far Away
Order the album here.
The post LEX LEGION – Lex Legion (Album Review) appeared first on Sonic Perspectives.
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