Much has been said about King 810 in a relatively short amount of time. Their affinity for extolling the violence and poverty of their hometown of Flint, MI has already earned them armies of fans & detractors. From masked gunmen onstage to assault charges and tales of getting shot, they’re the closest thing metal has to a resurgence of 90’s gangsta rap. If the thuggish persona is a gimmick though, they aren’t showing it as they tape off an aural crime scene on “Memoirs Of A Murderer“.
What King 810 deliver best is a chunky nu metal borne assault of shock value and plowing low end groove. The immediacy of it can be infectious with David Gunn‘s theatrical delivery and hooky calls for bloodshed stealing the show.
His ability to go for the throat with descriptive tales of hard luck and rallying cries for violent retribution are what leave a lasting impression. At their most vicious they help the group sound like a swampy mix between American Head Charge and early Slipknot. A somewhat dated amalgamation, but one not without some merits given the sterility the various ‘core’ scenes have given us lately.
Atop this is the street poetry Gunn actively engages in with a seething cadence. Tales of urban violence—rather than demons, horror, etc.—is a refreshing turn, but Gunn‘s verbal arsenal is often stunted, applying a sledgehammer to most situations. Combined with some dreary length and blunt lyrical imagery, some of his diatribes bring to mind a more streetwise Otep.
There is another side to the band however. The sullen acoustic-led “Take It” sounds like Everlast attempting a bizarre Tom Waits cover; “Devil Don’t Cry” is an operatic string and piano driven affair that has some downright folky moments. The isolated percussion of “Write About Us” also feels earnest, finding Gunn delivering a simmering reflection on his apparent past acquaintances and the fates that befell them.
The blue collar determination and heart of these unexpected melodic moments have merit, but “Memoirs Of A Murderer” as a whole is too scatterbrained. Austere balladry and nu metal razing don’t make the best bedfellows as this effort shows.
Furthermore, aside from going against the grain of current metal trends, the loose riffs and plodding rhythm section sound like an early ‘Ozzfest‘ sampler put on shuffle. To be honest, without Gunn‘s emphatic presence this could have very well been a collection of WWE ‘Attitude era’ entrance themes.
Perhaps this is King 810‘s biggest problem. While not the most unique, Gunn gets by on charisma and merciless hostility. The rest of the band deliver little that is equally as compelling. The riffs are largely derivative and the percussion is more bombast than brilliance. There may be some enjoyment hidden in the throwback elements hidden here, but there sadly isn’t much talent.
