Back in February we featured these beastly Swedes as a ‘band to watch’. With their unusual line-up of seven members including two vocalists and two percussionists, everything about KILL THE KONG feels like a two-pronged attack; a Two-Pronged Kong if you will. Now with second album Colossus almost ready to be unleashed, it’s time for you to sit up and pay attention.
“Why can’t you see I have multiple hearts beating?” is the first lyric uttered in the suitably titled opener Hearts Beat. Could this be a reference to the colossal beast of their namesake? Or the hearts of the multiple members of the group? Either way, the track gives a good indication of the straight-up metalcore this album channels compared to their self-titled 2016 debut. No quirky percussion is present in this tune, but despite the limited lyrics it still provides a killer hook and the hope that the band have honed their song writing skills for this release.
This hope is realised when second track Juggernaut (wolfpack) crashes into our consciousness. Just a few seconds into the song, it can be heard their ambition and production has doubled in size; a shiny, massive sound to match their colossal line-up. The KILL THE KONG energy is there in bucket loads as we finally hear their signature drumming style for the first time in Colossus. With a vibe akin to newer PARKWAY DRIVE, the shout-along chorus perfectly matches the metallic groove of the instrumentation. The song breaks way to a satisfying clean vocal melody; wearing their metalcore influences on their sleeve KILL THE KONG clearly gain inspiration from bands such as ARCHITECTS but add their own refreshing twist to proceedings.
Just when you think you can predict how the next track will sound, the band let loose in Nerve; a song with a more hardcore stance. The groove is still there but the delivery and aggression is channelled in a similar manner to newer COMEBACK KID. Nerve also features a decent bit of riffage which maintains their energetic pace. The dual vocals of Timo and Sebastian really pay off as it provides subtle shifts in dynamic to keep the listener on their toes.
Pitch Black is a curious beast in itself. With another cheeky change in style, the song is a tad more unpredictable than the others; with a sound not too dissimilar to the quirkier end of metalcore such as HE IS LEGEND and EVERY TIME I DIE, yet the chorus almost has a nu metal element to it. A very interesting track, Pitch Black might prove to be an unexpected fan favourite with its hint of chaos and unforgiving attitude.
Another nice, crunchy riff greets the listener at the start of The Antagonist before it erupts into metalcore galore. A mature and focused song, everything about this track is spot on – its approach, execution and feeling. Atmospherics lurk in the background of the verse before a killer chorus catapults the song to a new level. But before you can get comfortable with the familiarity of the safe metalcore, KILL THE KONG unleash more impressive percussion to keep things interesting and make the sound truly their own.
A Swedish influence breaks through in Close to the Bone. The beginning has a strong THE HAUNTED groove which evolves into a contemporary metallic crunch. The band once again demonstrate their chorus game is getting stronger but the song is over before you know it! However, things take another interesting turn with Map of Wounds; the verse sounds reminiscent of LACUNA COIL with its bassy undertones and dark melody, yet the chorus blows up into a thumping ruckus.
Burning in Water, Drowning in Flames has some good ideas yet doesn’t quite take off like the other tracks. But it does feature the most pulsing breakdown of the album. If this song was likened to another band, you could argue it has a similar approach as newer KILLSWITCH ENGAGE, the chorus especially. Hopefully the song will become a grower.
We’re back in business when we’re introduced to the addictive beats of Snake Eyes. A whirring, storming thumper, it energetically pumps along like a good ol’ SOILWORK ditty. The song keeps on giving with its relentless energy holding out before its exhale at the very end. Album finale The Hurt Stays continues this energy, with the gang vocals returning in abundance expelling passion and emotion until the descent to Colossus‘ conclusion.
While offering nothing particularly groundbreaking, KILL THE KONG remain memorable with their quirky grooves. There was always the danger two percussionists could become a gimmick but luckily the band avoid this through their mature song writing. The foundations are set for something truly colossal in the future, but will KILL THE KONG break free from the chains of the underground and make an impact in the mainstream?