Remember when KING 810 were labelled as “the next most dangerous band” in modern metal, and were only likened to then-labelmates Slipknot in notoriety? It’s now hard to believe it, but it’s been a decade since KING 810’s explosive debut album, Memoirs of a Murderer – a polarising-by-design album that delved into the grim realities of their hometown Flint, Michigan. However hard-hitting, emotional and sometimes downright genius their music and storytelling touches were, they ultimately fell victim to “bad publicity” – their macho image, penchant for guns, and offstage issues becoming more of a distraction than an aid. Before long, more attention was on the controversies surrounding singer and band leader, David Gunn, rather than the band’s music.
This is all the more unfortunate, as 2016’s La Petite Mort or a Conversation with God was more nuanced and sonically expansive than their shock tactics suggested. Sporadic singles and mixtape appearances helped unravel more sensibilities than one would think to see by the band, but nothing to write home about in a global scale. Today, the anticipation for new KING 810 music has admittedly diminished, which ironically might be beneficial; without intense public scrutiny, the emphasis can finally return to their artistic output instead.
Releasing an EP as a soundtrack to an episodic film series that only dedicated fans are likely to seek out isn’t the best strategy for attracting a broader audience. However, this project is very much a realised and completely hands-on manifestation of the band’s identity as it stands today; completely self-financed and self-produced, and shared directly to the fans with no marketing gimmicks. The overall success of this venture hinges on the quality and appeal of the outcome, and as attested by their dedicated fanbase, KING 810 still excel in this regard.
Under the Black Rainbow is a follow-up to 2023’s Follow My Tears EP which continues on said episodic storytelling reality that Gunn pulled from various poems and stories he accumulated through the years. This year’s EP also serves as a multimedia experience, complementing a series of YouTube videos in which the band discovers an “enchanted instrument.” Filled with philosophical narration, these short films have evidently been well-received by fans, with some suggesting in the comments that they should even be adapted for Netflix. True to their provocative nature, the videos utilise AI to create a shamanistic old man, a choice that Gunn admitted in an interview would likely spark some controversy. Although not essential for appreciating the record, the series helps explain the varied nature of Under the Black Rainbow.
Opener Hurry Hurry Ahura Mazda embodies the band’s now signature unsettling style with explosive percussion and Gunn’s trademark tortured whispers bombarded across the track. The raw tales of depravity and crime are replaced by a much more sinister narrative that has Gunn and co. “find magic in the most peculiar places.” Anchored by a groove-driven but still trodden chorus hook, the track serves as the most fitting introduction to the dark and sinister world that KING 810 set to create here.
Sue’s Song features Marilyn Manson-esque electronic stabs with a big, backing vocal chorus, juxtaposed with dark lyrics about guns, suicide, and the Second Amendment. Boogie with the Boogieman exudes a dark-carnival energy, featuring a well-established industrial stomp and snarls reminiscent of early Korn material. Eugene Gill’s four-to-the-floor backdrop propel the highly energetic side of KING 810 to a satisfying end, and the sing-along prowess of the chorus makes this a potentially future live favourite.
Contrasting what came before is the reflective lead single Glow, an acoustic and twinkling love song about disappearing into a world that never noticed. Lyrically, it balances the optimism of romance with the harsh reality of everyday disappointments. Gunn croons almost in resignation that “We were never stars, we don’t glow,” before declaring a final push to, “find you in any lifetime that we live.” A reading of this song has it being an updated sentiment of Green Day’s American Idiot, by shedding light on the lost souls still searching for meaning.
Closer Bigger than the Stones continues this theme, lamenting unfulfilled dreams and lost friends. Accompanied by strings and an overall stripped-back sound, Gunn’s vulnerable vocals reflect on past hopes and the harsh realities of life – almost being a yearning for the success that KING 810 was supposed to achieve, but never did.
Saying that Under the Black Rainbow meets expectations comes with a caveat, as KING 810’s music has always had a shape-shifting quality. Despite being unmistakably their own, their sound continually builds around a consistent core. To that end, its shifting moods match the cinematic accompaniment the band strives towards, while the brutal and heartfelt lyrics tie the entire project together. Whatever one’s preconceptions about KING 810 may be, this remains an ambitious effort with well-thought out ideas and a familiar-sounding, yet still fresh execution. Give this a spin with an open mind, and you might as well be pleasantly surprised.
7/10
Standout Tracks: Sue’s Song, Boogie with the Boogieman, Bigger than the Stones
For Fans Of: Ho99o9, Korn, Cane Hill
Written by: Dimitris Vasileias
