King Kraken

Jono Moulds checks out the new album from King Kraken called, "March of the Gods". The self released album is due out on Friday 18th April 2025.

‘Scream’, opens up the album, and doesn’t the title truly do this tune justice, as there are no holds barred, as they fly out of the traps, as if their very, hard rocking, riff conjuring lives depended on it. This is some start, as ‘Donoghue’ drags the gut-wrenching vocal up from his very core, through rusty barbed wire, over hot coals, and a splash of Jack, just to add even more ‘Rock ‘n Roll’ flavour to it. Kudos to ‘Mears’ as he explores various drum fills, and releases them with an almighty confidence, that drives this song with skill and attitude. Some melodic and ‘Old-School’ guitar work breaks things up, momentarily, until the band decide, enough is enough, and bring things to a thunderous crescendo through ‘Donoghue’, as he goes up about 10 notches with – ‘SCREAM’!

No let up with these boys, for as soon as we take a sharp intake of breath from the opener, they rattle off another high-velocity, riff-tastic, bludgeon of a tune, as we enter the monstrous world of ‘El Giganto’. This band love a song featuring some form of mythical creature (well why wouldn’t you?) and they 100% deliver on this, as the lyrics/story line(‘Over 50 Storeys high, Red laser beams shoot from his eyes!’ – C’mon – we loves that!) and power of delivery from the band, make this one of my personal top tunes on this album. I promise I won’t wax lyrical about ‘Mears’ on every track within this review, but once again, he adds all the frills and bombastic elements to massively enhance this bestial track. Love it, want more, onto the next.

As the title alludes to, ‘Berserker’ takes us to a place in time, where warriors fought with a fury and partied like ‘Lemmy’ in his heyday. This ‘crew’ were certainly not to be messed with, and so, it is fully expected that the song will reflect these madmen, and so it came to pass, that we begin this song with another ‘calm’ (well to begin with) guitar run that quickly dissipates to reveal a mighty, pinched harmonic, intricate riff.

This song moves with a strength and a menace, that in many ways can be likened to an army of warriors, trudging through mud-soaked battlefields, in an urge to meet their ultimate ends.

If a songs theme was ever a perfect fit for a singer, then surely it would be this, as it fits ‘Donoghue’ to a tee. Hard edged vocal meets the historic tale of ‘bat-shit’ crazy Vikings – what could go wrong!! The guitar break is quite refined and far less threatening than anticipated, given the songs premise (the vocal performance more than covers that side of things), but for me, it still adds a sonic relief to proceedings and fits in perfectly. Another belter of a tune – Heavy, moody and there’s Vikings in it. What more do you want!!!!

‘March of the Gods’ is the title track, and before this track had started, I had already built up an idea in my mind how this tune would unfold, that being, unyielding, commanding and not taking any prisoners - in any way, shape or form - and I wasn’t far of the mark, as from the initial, guitar riff, this has an energy and an authority that befits the title. The rhythm and structure of the tune cleverly feels as though you are ‘marching’ from verse to verse, until we arrive at that crunching, roaring chorus. Some well-developed guitar parts are not to be overlooked either, where they raise their metallic heads, adding to the pin-point, determination that this song carries. Even when things are brought down a tad during the bridge/pre-WAH sodden solo, this just fits perfectly into the tune’s dynamic. Top job, Top tune.

‘Hero’ starts with something of a left field approach (certainly from what the rest of this album offers), as an almost psychedelic/rotary effected and bluesy guitar lick, unlocks this emotionally charged song, which for me, is one of the stand out tracks on the album.

As the song unfolds, you become instantly drawn into two key points. Firstly, the heartfelt lyrics, that clearly focus on father/son/family memories and secondly, the warmth and passionate way in ‘Donoghue’ not only delivers the vocal, but the control he has over it, never overly raging, but seemingly ensuring that he feeds off every expressive word he’s singing and only unleashes it as and when required; if nothing else, to enhance the story that he’s trying to convey – simply breathtaking.

This song is as beautiful as it is powerful. It’s been quite some time since a song has resonated with me quite as much as this has, bringing back thoughts and feelings about my own father, which I’ve not had for many years, especially the closing line, where he roars ‘Your memory will carry on, and on’ - ‘it will carry – I am my father’s son’. Trust me, spine tingling stuff.

‘Vigilante’ is another rock-hard slab of metallic fury, as the incredibly brief drum intro tees up ‘Rose & Healey’ to give a free reign to more classic guitar riffage. Right off the bat, this has all the hallmarks of classic rock/metal, where the strong theme of the song butt’s heads with the band at full steam. ‘Donoghue’ delivers more menacing vocal and seems to take some throaty delight, as he bellows ‘Your nightmares will come to life, I’ll break your soul’. The track takes a surprising turn midway through as, the tempo drops significantly, almost at 33rpm in comparison to the rest of the tune, as ‘Healey’ has his chance to add some tasty guitar throughout this section. A fierce snare roll switches the pace back to where this awesome song started. A straight-ahead rocker this, but there’s nothing wrong with that, sits in my top three on this record.

And so, onto ‘Preacher’, with its unsettling and eerily curious guitar intro (Almost Sabbath sounding to this ear), as a slow build up on the drums signals its proper intent, as the tune blossoms, into a darkened state, with a hostile and intimidating pace. All this and more, as ‘Donoghue’s’ vocal kicks in, giving it the missing ingredients - that of rage and foreboding. The mid-section certainly picks up pace, starting with guitar, but then the band, as a whole, kick into gear, ably supporting another blistering guitar break. Things eventually return to a less chaotic tempo, as that opening guitar riff returns, to steady the ship, just in time for another rousing chorus.

‘Magnum Opus’ is another guitar fuelled monster of a track, that focuses on the age-old relationship between that of man and machine. The musicality of the track certainly enhances what the lyrics are evidently trying to put across, as guitars crackle with a sizzling distorted energy, showcased within the mighty and meaty riffage on offer. The solo, once again, has an almost Classic Rock feel to it, but works really well on top of all the bedlam that’s going on below it. Strong, powerful and certainly one that grows on you, the more you play this album.

‘Chainsaw Saviour’, opens with a short lived, crisp, swaggering guitar riff, as a kick drum/snare bombardment signals its metallic birth. That weighty and impenetrable sound that runs through the core of this album is on offer for the ‘Krak-heads’ once again, for all and sundry to take heed of.

The opening verses are mainly left to ‘Mears’ mesmeric drum fill, while the guitar riffs and bass retreat to the background (sort of), filling in less violently, to allow ‘Donoghue’ a clear path to ‘growl’ his way through the tune’s outset.

The chorus arrives with a ‘surge’, as ‘Mears’, once again, ensures its entrance, as the drums build and the band reconnect with each other to provide the menacing and powerful focal point of the song.

Moving out of verse two, we meet a WAH soaked guitar solo, that adds a brightness and speed that cleverly sits atop of the grinding and driving pace that this song keeps hold of throughout.

No holds barred here. The title of the song should give you enough of a clue what you are about to encounter.

And in the blink of an eye, we come to the final track - ‘Under the Sun’, as the album closes in the exact same fashion as what has come before, that is, huge guitar, thunderous drumming and a vocal that has been beckoned from some unearthly realm. As the last guitar chord is hit, to fade into the tracks far distance, we enter the first verse, where the song puts aside its power (momentarily), and gives the space for ‘Donoghue to be able to deliver the lyrics with assurance and focus, as he sings ‘I am Parish yet unafraid – I rise from below, midst the death and decay’

The chorus, albeit devoid of anything other than ‘Yeah – Under the Sun’ is gut wrenchingly sung and mightily played. This approach continues into the second half of the song, as this time, there is no respite in sight, as the room and space granted in the opening makes way for a full assault of 100% committed rock!!

This is a superb way in which to close the album, and this tune has all the hallmarks of staying within their live set for many years to come – Outstanding track.

And so it comes to pass, that all hard-rocking things must come to some untimely and maniacal end, and so we leave ‘March of the Gods’ with this summation, that what King Kraken have created is one blistering, commanding and hard-hitting belter of a follow up to their debut – MCLXXX.

Underneath all the incredibly powerful musicality, electrifying riffage and raucous vocal, lie songs crafted with a passion and commitment, which cannot be denied or ignored. The production on this album has most certainly sonically captured that full-on metal assault, that each song (save Hero) cries out for.

A more than worthy successor to MCLXXX, one which the band should be incredibly proud of.

 

Chainsaw Saviour, first video taken from the album.

Berserker, the second video taken from the album.

Hero, the third video taken from the album.

March of the Gods, fourth video and title track from the album.

King Kraken 2025 Shows!