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The musical career of Dry Kill Logic begins in Westchester, New York, in 1995, and they have been immediately inspired by the legendary gods of metal: Pantera, Tool, King Diamond, Sepultura, and Fear Factory. The band is composed of four members: Cliff Rigano (vocals), Dave Kowatch (bass), Scott Thompson (guitar), and Phil Arcuri (drums). The album I reviewed is the first LP of their discography, preceding The Dead And Dreaming (2004) and Magellan Complex (soon to hit the shelves).
The album consists of 12 tracks and despite the obvious lack of technical originality presented, in the end, you come to think that they play well and as a debut, it only shows a few gaps. The work is solid and easily digestible without particular efforts, oscillating between moments of 100% brute force interwoven with reflective melodies that prepare new sound violence through electronics; it goes up with anger and down with anguish, stimulating our acoustic receptors throughout its duration.
An album that manages to put all the frustration of a Life as cruel as it is absurd in front of us. It starts strong with Nightmare, which represents the synthesis of the album with its sharp refrain like a sentence: "ME + U = NIGHTMARE", then moves on to Feel the Break, which I consider to be one of the best tracks on the CD where Rigano manages to show us his inner anguish with his vocal skill. The subsequent tracks do not follow a logical thread and appear fairly disconnected from each other, suspended between various styles (Fear Factory, Korn, Mudvayne, etc.) but in any case, they offer good entertainment. Noteworthy are Assfault and Weight, where Rigano displays his vocal versatility. In my opinion, the CD picks up again with Rot and track 13, when you start to feel a skull creaking, subjected to remarkable sound pressures followed by fierce yet sweet melancholic openings. Functional tempo changes and an Arcuri who skillfully carves out his slice of glory manage to envelop us, making us an integral part of a process where we are both the knife and the wound. The album closes with Goodnight, which is the softest song on the CD and shows the quartet's more melodic vein, arranged acoustically, representing a moment of serenity after so much fervor.
This is a CD that will make many cringe, but others might like it, especially if they love bands that alternate aggression and melody in an appropriate and effective way. A group that deserves attention, in my opinion, because they know how to create atmospheres rooted in the darkest side of our existence (killing, crushing, and destroying), a fall without a grip that no one can escape from.
P.S. I also recommend The Dead And Dreaming, which offers a more mature and angry Dry Kill Logic.
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