Finality is a concept that we as humans often struggle with, not necessarily a foreign idea but more of a surprise it can come at any moment. Reacting to setting that has become finite that was seemingly limitless, this idea of a definite end can often bring us into a jarring state of self awareness. Fabled for their truly berserk live performances The Dillinger Escape Plan are a band like no other. Bred on dissonance and cacophony the band’s diet has been plentiful over the years. Breaking the news that the band would be unveiling their latest avant garde piece Dissocation, the musical collective were somewhat bowled over by the band’s decision to call it quits. Slowly coming to terms with this idea that the infinite has now reached a zenith we look to see just how much of an impact The Dillinger Escape Plan had and whether their final statement will be one of fervour or whether the band have simply become their idea of Dissociation.
The Dillinger pill can be a hard one to stomach, often the most seasoned of Extreme music listeners can find it sometimes too corrosive for a listen to go with your morning coffee. Characterised by vehement lyrics geniusly crafted by our own Greg Puciato, whose range varies from all out banshee, deranged lunatic with a crooning drunk somewhere in the middle. The singer is largely responsible for the sense of pure aggression behind the band. Flanked by guitarist and chief song writer Ben Weinman, the band play with the idea of juxtapositioning. From the likes of their inception with the self titled classic containing more complex maneuvere s than some of the band’s more contemporary pieces. The now classic fury of “43% Burnt” ensuring that every TDEP goes fittingly batshit before the show is over. Mirroring the idea of the music the band are, as I previously mentioned one the most unstable acts in Metal. A familiar habitat of ceilings and crowds see Ben Weinman nicely at home when live. The infamous Virgin Megastore appearance saw Puciato jump on heads to get up close and personal whilst visually exploding.
Though not all of The Dillinger Escape Plan make up relies of madness and venom. A side more experimented with on the likes of Option Paralysis and the red herring titled Ire Works saw a multitude of different genres applied to their musical blueprint. “Widower” for instance begins with delicate piano. Piecing together a shattered image of a dimly lit restaurant bar. With our house band being well dressed before slowly becoming an possessive lunatic metaphorical or otherwise. Implementing elements from electronica instrumental “Sick On A Sunday” sits more at home with the likes of Richard D. James’ Aphex Twin rather than The Chariot. Making use of instruments that are traditionally allied to Metal in a more avant garde setting brought forward this air of the unhinged perfectly characterised by Puciato. Able to go full retard “Fix Your Face” puts its foot firmly in the noise category, remaining completely unlistenable yet somehow musically alluring. Be it from the point of view of a musician, decoding the intricate organised chaos that are the band’s songs or from the intense hooks.
Evolving on from the bursts of two minute aggression saw the likes of Option Parlysis number “Farewell, Mona Lisa” bring a more progressive approach to the band. Chromatic arachnids scurrying their way across the fret board whilst being hurled well placed distortion, now contrasted with the addition of the softer sections. Giving the audience respite is key to retaining an audience’s attention for 45 plus minutes without overwhelming the listener. As such despite their quest for artistic expression the idea of noise is not particularly pertinent towards the mass market. Understandably so remaining in the band and continuing on as an entity was getting increasingly harder. No doubt aided by their promise of mayhem at a live show, yet another example being their performance at Revolver awards following the release of the Machievallian One Of Us Is The Killer. With people not buying records of band’s that made musical sense The Dillinger Escple Plan are so,ewjat of an acquired taste. Having said that the loyalty put forward from the band’s fans is unfaltering. Seeing the group mature more and more with ech release as do their fans their understanding of their works.
The stalking tones of “Sunshine The Werewolf” echoes this idea of musical pursuit the band have long been after which by now, on their piece de resistance Miss Machine, an album many deem to be the band’s best.had perfected. Maturing in songwriting the quality of lyrics remained as cryptic as ever whilst slowly cloaking the listener in this web of cacophony. Perhaps without the philosophical mouse behind them a band the likes of The Dillinger Escape Plan would have ceased to be a long time ago. Embodying this entire idea of paradox, or meaning in nonsense, sense in madness the band are paradox not only of themselves but musi. The very idea of dissonance as a mission statement should deter yet brings more in. Of course abetted by Puciato’s Patton-esque melodies helps!
Now ushering in the final era of The Dillinger Escape Plan we see all of the previous ingredients come together to create their own interpretation of their history. Similar to a Warhead, a sweet whose sour beginning eventually turns to one of sweet sugar the band can be comparative. Unique in their performance, sound and of course musical DNA there will never truly be another like The Dillinger Escape Plan. Tirelessly pushing the sonic boundary of acceptable music is a malleable substance in their hands and if we never hear another note post Dissociation we’ve got a wealth of classics to cater to our study in dissonance. A polyamorus entity Dillinger flirt with jazz whilst electro has its back turned . Finds a dark corner with hardcore all the while checking post hardcore out. A veritable musical slut.
