Dry Kill Logic -- 'The Dead and Dreaming' [review]

Dry Kill Logic
"The Dead and Dreaming"
Repossession Records


It has not been an easy road for the New York metal crew known as Dry Kill Logic. After toiling on the indie scene as Hinge, the band was signed to Roadrunner Records and forced to change its name ... twice (from Hinge to Hinge A.D. to Dry Kill Logic).

Though the band offered up a killer debut, 2001's "The Darker Side of Nonsense," it soon dropped off the "metal radar." According to the band's Web-site, the band was hit by a one/two punch: the events of Sept. 11 and the fact that Roadrunner Records "temporarily stopped supporting aggressive music and encouraged Dry Kill Logic to record more melodic songs that would be easier to push to commercial radio."

Fast-forward three years and Dry Kill Logic (DKL) are as aggressive as ever, yet still maintain that sense of melody and overall musical tone that is practically trademark DKL. While the transition from its debut to "The Dead and Dreaming" has been less than smooth (the band's guitarist and bassist quit in the interim), DKL has persevered and the listening public is, in turn, treated to a bombastic masterpiece of metal.

Tearing open with "Lost," the band immediately returns to form with thunderous beats and steamroller-riffing undercutting Cliff Rigano's instantly recognizably voice -- an almost half-growl that seethes with urgency while still maintaining a melodic edge. Rigano walks a fine line between death metal and hard rock without ever fully giving up to one side or the other. And he can turn on a dime to offer up more melodic vocals and, dare I say, straight-up sing. This juxtaposition of vocals is the main hook on tracks like "Paper Tiger" and "With Deepest Regrets" where Rigano will growl through the verses before sweetly offering up the chorus (a sound more common today amongst bands like Killswitch Engage or Nonpoint).

The band sounds much more tight and raw when compared to prior offerings. Phil Arcuri is a demon behind the drum kit, pounding away from track to track and always sounding fresh. If it's Rigano's voice that pulls the entire DKL sound together, it's Arcuri's backing beats that frames the entire mix. (Speaking of mix, the drumming is made all the more aggressive with the cymbals, at times, almost getting lost in the tracking.)

Guitarist Jason Bozzi and bassist Danny Horboychuk easily find their places in the band. Horboychuk plays well off of Arcuri but is in no way a subtle addition to the band as the DKL sound has always been bass-heavy (though it's not clear if he actually played on this disc as the bass guitar work is credited to Bozzi -- possibly due to the fact the band spent a couple of years working on the album). Bozzi adds an extra dimension to the band as guitar solos are liberally sprinkled throughout the album.

The only weak point on "The Dead and Dreaming" (and this is stretching it), is that the band tries to replicate the sleeper success of "Goodnight," the acoustic track which closes "Darker Side of Nonsense." In this case, "No Reason" is a strong enough track, but almost comes across as forced. (It may have worked better with a more explosive, powerful ending.)

Either way, much like 40 Below Summer, DKL have made the best from dropping off the major-label scene to deliver a more-than-solid follow-up to a killer debut.

Future Leaders of the World -- 'LVL IV' [review]

Future Leaders of the World
"LVL IV"
Epic Records


Do you ever sit back and find yourself wondering what Nirvana may have turned into had the band's front man Kurt Cobain not passed away? Then this new album by Future Leaders of the World (FLoW) is for you.

Sure, we got a hint of that sound when South African imports Seether made a splash on the rock scene a few years ago, but this debut from FLoW really seems to encapsulate what might have been ... and not entirely in a good way.

FLoW's lead singer, Phil Taylor, has the Cobain snarl and disaffected drawl down pat. On the other hand, the band lacks the rawness that flowed through Nirvana's releases. The rock sheen flows around Taylor's vocals from track to track ... much like you'd expect Nirvana's music would have become more and more polished over time as the band moved away from its indie-punk/rock infused music to a more radio-friendly sonic assault (theoretically speaking of course).

But, for the sake of FLoW's debut "LVL IV" (level four), let's leave the Nirvana comparisons for a moment.

The band's bio over at Epic Records Web site details Taylor's struggles trying to make it in the music industry. He eventually scored big getting a demo to Puddle of Mudd backstage at a concert (much like Puddle of Mudd did with Limp Bizkit -- and thus securing a recording contract a couple of years ago). In fact, FLoW's sound is reminiscent of stronger, edgier Puddle of Mudd tracks. But Taylor is a better, more dynamic vocalist than PoM's Wes Scantlin. His voice oozes desperation throughout the album ... almost mumbling through songs' verses with a laid-back drawl before picking up the pace on choruses or flying through pseudo rap-like delivery on bridges.

The band is making a splash on rock radio at the moment with "Let Me Out," a deliberate, plodding rock number, perfect for an introduction to the band (a la Creed's 1997 debut single "My Own Prison").

The music throughout the album is, for the most part, unimaginative rock. That's not to say it's bad, it's just the typical down-turned guitar rock with a steady back beat. In fact, there's nothing too pull out of the mix and point out ... except for Taylor. (And here's where Nirvana returns to the mix.)

His vocals really do evoke the spirit of the late Cobain. Whether it's screaming through the end of "Sued," the chorus of "Let Me Out," or the more fast-paced (almost fun-sounding) "Killpop," Taylor IS the reason to check out this band.

It's not all angry rock on "LVL IV" though. The band offers up the almost-ballad \"House of Chains" that almost brings about a memory of late-'80s/early-'90s rockers Faster Pussycat.

Overall, FLoW aren't doing anything that hasn't been done before. Far from declaring the band the second-coming of Nirvana, this is more of a spotlight for Taylor to shine vocally. The band has the opportunity to make something of itself, but only time will tell where its headed.