King 810 – ‘Suicide King’

By Dave Stewart

King 810 are, without doubt, the world’s most dangerous band. Their reputation precedes them. They hail from a city affectionately known as Murder Town. They’ve had shows shut down due to rioting. They’ve had various run ins with the law. Vocalist David Gunn is covered in entry wounds from both knives and bullets, and has kick-started an MMA career with two wins. Add the towering presence of bassist Eugene Gill to the mix, and you have one of the most intimidating duos in music today.

The music they’ve been creating for over a decade has carved out an almost cult-like following, all of whom revel in the graphic imagery of Gunn’s lyrics and the sheer intensity of the music. They never make the same move twice, and their new record ‘Suicide King’ is a continuation of that notion. This is not the record you’ve been expecting. And that’s a good thing.

If you’ve come here expecting to hear a balls to the wall metal album, you’ll be disappointed – but if that is what you wanted, then it’s your own fault. King 810 are so much more than a metal band. There’s a wide variety of musical styles on every single record, and that makes them near impossible to pigeonhole. Take this record for example. Yes, there are elements of metal, most prominent in the opening punishers ‘Heartbeats’ and ‘Braveheart’ but there are also gigantic walls of guitars and evil vibes oozing out of ‘Bang Guns’, as well as the infectious distortion-soaked grooves rooted in ‘A Million Dollars’. But metal represents a small part of what’s on display here.

This album is deeply rooted in hip-hop, but with a very dark core that is the foundation of this record, and has a whole host of other influences in its orbit. Clever wordplay and intense storytelling is something Gunn has become known for, and you’ll find it gushing out of ‘What’s Gotten Into Me’. There’s the dark and brooding feel of ‘God Is Watching’, which utilises a haunting chorus melody to give an industrial sounding edge, while brutal honesty and ever-evolving dynamics take the limelight in ‘Sing Me To Sleep’, marrying groove and melody with ease. There’s even a stunning gospel influence in ‘Black Rifle’, complete with a soaring choir and a blues drenched guitar solo that New Orleans would be proud of.

This record makes King 810 dangerous in a whole new way. They aren’t just creating new music – they’re branching out. Their ability to weave new traits into their sound without deviating from their roots separates them from a lot of the artists that claim to sit in their genre. Everything that you already love about the band is here, but the experience is brand new. They’re evolving. ‘Suicide King’ is a strong statement to anybody that listens to it. That statement? King 810 are unpredictable. You never truly know what move they’re going to make next. Go ahead, try to predict the next one. You won’t be able to.


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