Hailing from what is commonly known as the “murder capital of the United States” Flint, Michigan, King 810 made their mark on the metal scene with the release of their debut record ‘Memoirs Of A Murderer’ back in 2014. Dramatising violence and the use of weapons from personal experiences, and taking some of these props into the live arena, the hype train surrounding the band at the time was immense.
After a debut UK tour in support of that record and a failed Download Festival appearance (vocalist David Gunn and bassist Eugine Gill were arrested on charges of assault as they were about to depart Detroit Metro Airport), talk died down almost as quickly as it had appeared. ‘La Petit Mort Or A Conversation With God’ marks the band’s sophomore effort on the back of this era of calmness with a view to let the music do the talking, and it most certainly does.
One thing that stands out immediately on this record is the dramatic effect of its soundscape. Gunn continues to speak negatively of the music industry on opener ‘Heavy Lies The Crown’, commenting on the effect of offsetting a music career while being away from home, and therefore not being around to “save” friends from trouble. Just wait ’til hear the gargantuan riff towards the end of the track, which is a lot doomier than anything the band has produced before.
One thing that becomes clear is that the band have lost some of their immediacy from the debut record, in favour of songs that really make you think hard and take everything in.bThis is particularly clear on ‘Black Swan’. The atmospheric nature of this song is akin to a bombastic film score, such is the theatrical and seismic properties throughout, and there are numerous orchestral elements which are right at the forefront of the track against a predominantly spoken word tirade by Gunn.
Lead single ‘I Ain’t Goin’ Back Again’ runs in a similar vein. Sounding like something Eminem would have released in the early noughties, a haunting chorus is backed up by the repeating phrase “I ain’t goin’ back again” delivered in an eerie fashion, followed by a guitar tone that sounds like something straight out of a western film.
More originality is evident in ‘The Trauma Model’ where industrial tinges, especially during the chorus, are reflected by what sounds like engine pistons being pumped out to the listener, completely changing the dynamic and tone of the song from quietness to in-your-face loud, while ‘Life’s Not Enough’ includes some interesting female vocals coupled with a bizarre saxophone solo halfway through the track.
For the more cultured of listeners, the lyrical content and self-assurance witnessed through this record might not be your taste, and for the casual listener the album just goes on for too long (a minute past an hour in running length). But, persevere with this, and you’ll find an incredibly interesting and diverse body of music from a band that still provide the shock factor.
Written by Neil Criddle (@DJCriddz)