REVIEW: "Suicide King" By KING 810 (Nu Metal)
Nu-Metal,Industrial Metal/Independent/Released Jan 25, 2019
Soldiering on after losing half their members and getting dropped from their label, Suicide King marks the third full length album from King 810. The record continues the band’s theatrical style of metal that blends industrial, nu metal, and spoken word. However fans of their heavier material may be disappointed with the album’s harder tracks leaning towards the band’s experimental side.
“Braveheart” is an exception and is trademark King 810, utilizing poly-rhythmic drums with industrial punch, down tuned guitars, and David Gunn’s impassioned screams and spoken word lyrics about street violence. “Bang Guns” is in a similar vein but with more hip hop influence. The chorus is simple and driving with Gunn utilizing more pure rapping, including the popular “triplet flow” used by Migos and many other of today’s trap rappers.
Lead single “Heartbeats” and “A Million Dollars” are dark and punching tracks but focus more on mood than mosh. “Heartbeats” opens with some ominous chanting and a tribal vibe before going into a chorus with staccato vocal delivery and off beat guitar work that give a tension filled mood. “A Million Dollars” makes clever use of working a speech sample into the chorus and comes off as avant-garde industrial metal.
“.45” and “What’s Gotten Into Me” are straight up hip-hop tracks that, while solid, will turn off some heavy music die hards. But the melodic last leg of the album is where it really shines. “Black Rifle” is a bluesy piano ballad that builds into a crescendo with a hard rock guitar solo and gospel choir. Making for a favorite from the whole album. “Wade In The Water” is another ballad full of emotion using restrained percussion and strings at the center of its instrumentation. Giving it a soundtrack music feel.
Suicide King is a record that may take a few listens to fully absorb. Its art rock tendencies make it an unconventional listen for metal fans with even the heavy tracks delivering aggression and darkness in an unusual way.But listen with an open mind and there’s plenty to like about the record. Collectively, it doesn’t reach the heights of its predecessor La Petite Mort, but it does continue to push the King 810 sound into exciting new directions.