Originally written by Rae Amitay
One Of Us Is The Killer is a commendable continuation of the experimentation from Irony is a Dead Scene turned into a full-length, an improvement upon Option Paralysis, and rife with plenty of the poisoned pop hooks Dillinger created on Ire Works. The guitars are blistering, virtuosic, and razor-sharp; Puciato contributes volumes to the album’s dynamics with his one-of-a-kind vocal performances; and the record’s ebb and flow is uniquely cohesive despite many shattered song structures. Aside from its many great qualities, there’s something a bit too polished about their approach this time around, and One Of Us Is The Killer doesn’t fully live up to the ‘masterpiece’ hype assigned to it by some ravenous reviewers. It’s still extremely well done, and comparing it to its predecessors in a better/worse scheme seems like a disservice to a band that constantly experiments and takes dangerous (and often rewarding) risks.
One Of Us Is The Killer might initially upset fans who cite pre-Puciato tunes as being the band’s best, but I call bullshit. He’s one of the greatest frontmen in metal, and attending a live DEP show is about “witnessing” more than simply standing and listening. His vocals have improved with each album but haven’t lost any of their explosive fury or destructive tension. Listeners who have been following the group’s evolution from album to album will likely be able to understand and deeply appreciate the approach taken here. “Prancer” is the best album opener I’ve heard in recent memory, from any band. It’s a hybrid of everything that makes Dillinger so compelling: ferocity, technical ability, frenzied energy, and expert songwriting.
While the title track may have purists lamenting its “over-accessibility”, I had no qualms with it other than some lagging repetition. It’s got all the components to be a great single, and I wouldn’t be surprised to hear it on hard rock/metal radio rotation. “Nothing’s Funny” is a huge departure from Dillinger’s frenetic murderous energy, and it takes full advantage of the band’s pop/rock abilities (similar to “Black Bubblegum” from Ire Works). The structure is fairly straightforward (for Dillinger), and the song struggles a bit as a result. It’s almost – dare I say it? – kid friendly, and that didn’t sit right with me. It’s a good song, but not particularly gripping, and it seems a little lazy given what these guys are capable of. It’s important to note that what might come across as ‘simple’ for Dillinger is relative to their previous output, and should not be compared to other offerings in metal.
“Crossburner” begins with a bass-heavy riff and crescendos into a slow-burning epic that catches you like a deer in headlights staring down an 18-wheeler, and incorporates subtle electronic glitches and haunting melodies amidst Puciato’s visceral screams and shouts. Weinman provides plenty of odd-time math-metal bliss, and this is a standout track not just on the album, but as a part of Dillinger’s entire discography.
Overall, people will always find something to complain about, and One Of Us Is The Killer isn’t without shortcomings. If you’ve always hated Dillinger, chances are that this album won’t change your mind. But if you felt a bit cheated by Option Paralysis, then this record may soothe your broken heart (by tearing it out of your chest and feeding it to a pack of wild dogs — musically, of course). One Of Us Is The Killer grew on me with each subsequent listen, and it’s a nuanced dish that’s meant to be savored, not rushed. In the grand scheme of things, Dillinger has managed to tweak their sound without losing their signature edge, and while at times the album stumbles, it mostly soars.
