THE SEDUCTION OF AN AMERICAN HOUSEWIFE
THE DEATH SCENE
Kansas crossover act Vena Amori shift gears from full-on screamo (used most annoyingly and sounding like an aped-up mix of Atreyu and The Used) to fierce metalcore (think Darkest Hour) to cascading punk metal (My Chemical Romance meets Iron Maiden). Yeah, these guys are definitely all over the place, and even go so far as to make this 12-track endeavor a concept album about a 1968 Kansas massacre to boot. So far, so good. With startlingly good riffs and a juggernaut of a rhythm section, tracks like “Rotting Beef Carcasses” and “Marilyn Merlot” stand out as choice cuts and Vena Amori seem destined for greatness. Then the terribly (and terrible to boot) raspy vocals assaults the ears, and damn near ruin the entire escapade, sapping all of the chaotic pleasure of tracks like “Fin” and “Jesus Wasn’t Loved in His Hometown Neither”. A band with this kind of heavy melodic acumen and versatility deserves a much better fate that a less abrasive singer can bring.