There’s an old adage that states ‘never judge a book by its cover’, and that applies aptly in the case of the debut album from Columbia’s King. Based on the Dark Funeral reject cover art, song titles like “Non laughter – Zero Fucking Happiness” and “Kill the Posers Like Fucking Christians” as well as the band’s South American origins, I was truly expecting a 2nd rate Krisiun styled assault of forgetful levels. However, as it turns out Forged By Satan’s Doctrine is really rather good, surprisingly so in fact.

The heart of King‘s sound is firmly rooted in early Deicide, musically, vocally and thematically, so there are some Krisiun-isms here, but rather than simply blast you into oblivion with a vortex of blast beats, King throw in just enough other elements to keep you interested. Sure, the album is chock full of competent hyper speed blasts and dual demonic vocals, but throw in some rather insidious chants, choirs and ritualistic lurches and you get an album that delivers something more than you’d expect.

“Summon Shub Niggurath Ye Black” starts the album with one of those aforementioned chants, calling forth the goat with a thousand young with convincing occultism before “No Pray, No Mercy, Just Death (Unpromised Satan)” erupts from the speakers with a forceful presence and a varied ferocity despite the cringe inducing title.  Then “Kill the Posers Like Fucking Christians” further impresses with a real face ripper which nightlight drummer Balek is an obvious force along with the tri layered vocals of the other members. “When the Walls of Heaven Turn Black” initially starts as a pure blast fest before a mid song bridge takes a nice groovy NYDM lope (and tortured screams) and its these very slight injections and variations that make King a little more interesting amid the still vitriolic blasting. Moments like the last 3rd’s of “Emperor of Darkness”, “The Ruthless Attitude of Evil Sobervia”, end of “Satan’s Fabrica”,  and epic eight minute closer “What’s Satan’s Domain”  along with the overall sound of the production and the vocals just give King an aura of menace that’s pretty unnerving despite the problematic song titles. But then again, I doubt I could come up with many very good Colombian song titles if forced to do so.

In all a pretty damn solid release that has some character amid the Krisiun and Deicide influences resulting in a band not afraid to be a bit off kilter in the typically cookie cutter realms of blasting Satanic death metal.

 

 

 

 

 

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