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The Musical Aberrations of The Kennedy Clan - 83%

bayern, June 29th, 2017

This band are a relatively new addition to the technical death metal fodder their style taking the go-between seat between the dazzling brutality movement as exemplified by Suffocation, Cryptopsy, Origin, etc. and the more moderate, but equally as intriguing histrionics of acts like Embryonic Devourment, Dethroner, Cathexis and The Faceless. Their debut was an auspicious beginning constructed on relentlessly fast intricate rifforamas with sparse deathcore-ish sweeps serving as pacifiers from the exhausting melee.

On the album reviewed here the elaborate “massacre” goes on on full-throttle as the musicianship has gone up as evident from the chaos unleashed on “Ad Noctum” with speedy riffs overlapping each other in a seemingly random fashion. “Eulogy of the Divine” notches up the technicality as some of the passages can make even Theory in Practice and Spawn of Possession envious; and “Enslave, Defile, Erase” isn’t too far behind with a smattering array of puzzling time-signatures among which a spacey psychedelic vibe can be detected. The title-track increases the slower breakdowns between the speedy guitarisms, and “King of Slaves” follows a similar path with a doomy sterile ending. “Seventh Circle” makes way more than mere seven circles around with impressive stomping technicality at first before the fast-paced crescendos resume their moshing party also throwing several blast-beats into the melee. “Necrotic Gospel” is the next in line ball of super-technical fury the guys shredding like demented inserting a couple of more laid-back melo-death dashes. “Beneath the Shroud of Atonement” is built around slow pounding rhythms for which the following “Disciples of Dead Aeons” compensates with leaps and bounds, and with superb pyrotechnics ala Necrophagist. “In the Ashes of Humanity” is the closest the band come to the mentioned dazzling brutality movement this cut a perennial hyper-active lasher, and “Perfidia” nearly matches it with aggressive riff-knots stitched together in a dizzying, vortex-like manner.

There’s nothing wrong with another speedy technical riff-monger on the field, especially when the guys know what they’re doing also very well aware that they can’t possibly break any new boundaries within their chosen stance. Still, one can never be sure how much aggression and power they can generate from this exhausting performance; please, watch out for any potential holes on the solid impenetrable technical death metal “wall”…

Not the kind of technical I was expecting. - 30%

DeathPossessed, June 23rd, 2016
Written based on this version: 2014, CD, Unique Leader Records

Well, to start things off: this isn't the type of technical death metal I was expecting. I honestly haven't heard of The Kennedy Veil before and was interested in checking them out after I had seen online that they are similar to Alterbeast, Fallujah, Vale of Pnath, Archspire, The Faceless and the Zenith Passage (all bands that I know and love). So after making an impulse buy and purchasing this album I was unbelievably disappointed. I found this album to be ridiculously boring! No offense to anyone that likes this band or this album, but I was expecting more guitar sweeps, memorable guitar solos, or some kind of innovation since the band is "similar" to the technical death metal bands that I listed prior. This is disappointing to me on so many levels.

One of the reasons why I happened to find it disappointing is because of how luck luster it is. This is barely on par with Spawn of Possession, Fleshgod Apocalypse, Hour of Penance, Suffocation, and Nile (bands that I am not particularly fond of, but are great in their own right). This album barely has any of the same intensity as Vale of Pnath, Archspire, and Alterbeast. Less innovation than Fallujah, The Faceless, and The Zenith Passage. On top of it, this album is ridiculously forgettable! There are only three songs off the entire album that I remember liking; two of which have great riffing, and one has a pretty baller bass line. Unfortunately I can't remember which song is which due them being so bland during the start and finish of each song. In honesty I happened to find this album to be a more boring version of Job for a Cowboy's "Demonocracy."

Another thing I dislike is that The Kennedy Veil is considered to be among the faster, more progressive, technical death metal bands (IE: Alterbeast, Fallujah, Vale of Pnath, Archspire, and the Zenith passage), when (in my opinion) it can barely keep up with the traditional technical death metal bands (IE: Spawn of Possession, Fleshgod Apocalypse, Hour of Penance, Suffocation, and Nile). I feel as if this album didn't have any impact and will go unnoticed. If you haven't heard of this album when it released in 2014 I believe it will continue to go unnoticed, as it should be unnoticed.

Aside from the facts being... 1: I don't like this album. 2: This album is the epitome of "lack luster." and 3: -SEVERE- misplacement as to where it stands in the technical death metal genre.

I want to keep this review as short as possible, because quite personally I hate when people have in depth reviews that take up to three hours to read. One thing I feel as if I should mention, which is a positive thing: The sound quality is actually rather impressive. When listing to the audio CD in my car or through any type of actual speaker system the music itself sounded well produced. The bass was present, noticeable when it needed to be and the guitars were mixed properly with the drums and the vocals. However, that started to wear off the more times I listened to it, which has brought me to this conclusion.

Worth listening - 90%

raiciunarcis, May 29th, 2016
Written based on this version: 2014, CD, Unique Leader Records

I try to lead reviews with something sharply descriptive, or completely objective, or a comparison to other bands, but I have to speak bluntly about this one: The Kennedy Veil have released a phenomenal record with Trinity of Falsehood, and I simply cannot get enough of it. The Sacramento quartet ignored the concept of a weak sophomore album and instead fired off one of the best records of 2014 only three weeks into the year.

The band bludgeons through 11 tracks in 32:33, six of which clock in under three minutes. They trimmed off every ounce of fat, leaving songs lean and punchy. Trinity of Falsehood achieves the band’s motto in excelsis: “No throwbacks, no breakdowns, no wanking, no trends. Modern American Brutal Death Metal!”

Speaking of excelling, drummer Gabe Seeber eradicates the drum kit. His 10-armed onslaught includes an arsenal of fills, blasts, and more stops on dimes than you can count. He types out philosophy textbooks on that kit in an unrelenting manner similar to Sedition by Hour of Penance.

However, later songs parallel more of Origin, during which the musicians seem more at home. For example, closer “Perfidia” pairs abrupt, high note slashes with bleakly rigid parts in a style similar to Antithesis. In addition, The Kennedy Veil fluidly changes pace in every song, expertly transitioning from Decrepit Birth’s warp speed to Suffocation’s chug.

Thankfully higher in the production, the bass guitar work hits listeners in the face and demands attention. In particular, check out “In the Ashes of Humanity” below, which calls to mind the bouncing bass of Obscura.

Rather refreshingly, The Kennedy Veil escapes the common pitfalls of bands that merely conglomerate elements of the greats. Instead, they play their take on death metal with originality and finesse. If only the rest of modern bands did the same, well, the world would deteriorate into a much better place for metal fans.