Dying of Everything
Dying of Everything shows how convincing a familiar approach can remain. Obituary relies on heavy riffs, firm rhythms and John Tardy's rough voice. The band seeks little reinvention, but gives the songs enough drive to become more than a look backwards. Its large, clear sound preserves the abrasive edges.
Barely Alive opens at speed. Guitars and drums immediately apply pressure, with the voice entering fiercely between them. The playing sounds sharp enough to hold attention from the start. The title track then takes a more pronounced thrash-like movement. Fast passages and guitar leads give the music an active character.
The slower material also carries force. War chooses a threatening stomp rather than simply increasing the pace. The Wrong Time likewise lets the riffs press harder. Obituary needs few complicated means to build tension. A clear guitar figure and a strong rhythmic entrance often provide enough.
Weaponize the Hate brings the drumming forward again. Rapid kick-drum strikes strengthen the attack without obscuring the riff. Be Warned instead closes slowly and threateningly, its heavy movement giving the ending a different character from the fierce opening.
Listeners expecting a new direction will find little of it here. Some choices feel so familiar that their capacity to surprise remains limited. However, Dying of Everything has enough conviction to balance that restriction. Simple structures keep the riffs prominent, and strong playing makes that a sensible decision. Obituary sounds purposeful and forceful rather than adventurous, giving these direct songs the commitment they need. Its familiar foundations remain effective because the band understands how to put weight behind them.
