• Rating:
The album as a whole certainly exhibits a more solid structure compared to previous works ("The Darker Side Of Nonsense" [2001], "The Dead and Dreaming" [2004], Ed.), a more controlled and measured aggression so much so that the tracks unfold uniformly in their duration, arranged in a track-list that shows a bit of repetitiveness in the second part.
That said, let's analyze the first track, an instrumental overture which I do not honestly consider a stroke of genius, monotonous and not connecting with the next track (which theoretically should be in its very nature). "My Dying Heart", hard and raw, starts with a guitar-drum battle in which Mr. Rigano steps in, showcasing his now solidified vocal maturity: the flow is an alternation between charged passages and well-orchestrated vocal fragments that make the 3 minutes of the track pass by. "4039" follows the footsteps of the previous track, strong vocal imprint, accelerated rhythm that ties to more "choral" sequences (both musically and vocally); the second is good. The third track, "Caught In A Storm", is rather strange since at many points the vocal part is resounding compared to the base, perhaps voluntarily to create an experimental form that certainly makes it different from the rest of the album; in its complexity, the form of this track is entirely similar to the remaining ones. The fourth piece, "From Victim to Killer" is powerful, maintaining full aggression. Noteworthy is a brief and fast solo by Mr. Bozzi mid-second minute, improved compared to performances of previous works, which gives that extra push to the piece.
"The Innocence Of Genius" is an amusing interlude, nothing thrilling, but it divides the LP into two distinct parts (the second less catchy); this because after the seventh song ("Boneyard"), somewhat monotonous that does not rise from the form assumed from the beginning, we encounter the first of the two ballads, "Kingdom Of The Blind", light and catchy that vaguely recalls a Nickelback-style, to which follow tracks that do not give that extra gear to the entire work. Indeed, after the relaxation of the eighth track, we encounter "Dead Mans Eyes", which opens in a rain of crazy decibels; everything lights up, the battle begins. This emphasis unfortunately fades after the second minute, where the initial destructive harmony declines making room for repeated riffs and filtered vocals that do not do justice, indeed lower the emotional output little by little until extinguishing the initial enthusiasm. Missed opportunity. As previously stated, the second part is not on par with the first (from second track to seventh, to be clear); and indeed to confirm this comes "Confidence Vs Consequences", not very significant and with a not too interesting, repetitive chorus; "Breaking The Broken" doesn't take off, tied to the "screamed-guitar riff-mix of both" pattern and on it goes, all fused with somewhat tiring looped verses.
Penultimate track "Lying Through Your Teeth" is a bit better than its previous cousins, with a central vocal phase very catchy and well constructed with the scream as a background. Lastly, we find ourselves pleasing our ears with the second ballad "In Memoria Di", all too calm (in the style of "Goodnight" from "The Darker Side Of Nonsense", Ed.) and predictable, tied to the classic canons of "let's make the last track easy so we end beautifully"; not always true. Last but not least, one must recognize in this work the effort and the will of the DKL to self-validate and be recognized as a standalone metalcore band from the American commercial reality: recognition granted.
"Of Vengeance And Violence" is musically more refined and sophisticated, full of nuances leaning on classic metal but with a nod to classic Thrash (guitars launched into fast yet sonorous passages with drums following), with songs that, for better or worse, are balanced just right, accompanying a listening that remains sustained in the first part but weakens in the second, laid out on the pattern of the initial tracks. One notices the positive evolution compared to their previous albums, making this the most valuable product. I must admit that the combination of repetitiveness and strength remains indelibly the trademark of this New York group that is experiencing a period of growth, not yet concluded.
We will await their next work, an additional step towards the maturity that all are anticipating.
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