Alright, so it looks like I was one of the few people in Sydney who actually forked over $80 of my hard earned dollars to check The Dillinger Escape Plan on their Australian tour for Ire Works. Here's a quick recap of the night.
Hospital the Musical were the local support, but the sound of the UNSW Roundhouse didnt work in their favour - the mix was very drum heavy, making it quite hard to hear any of the cool little technical riffs and rhythms they were playing. I look forward to actually watching these guys in a smaller venue; you can tell they'd be pretty intense.
Next up were Relapse Records label mates Coliseum, who basically piggybacked off of The Dillinger Escape Plans tour. Jesus Christ these guys were boring as all hell. They're a three piece who play mid-paced, rocky hardcore with extremely monotonous vocals that sound a little bit like modern Anthrax if Josh Bush could be that boring. Anyway this sucked royally so I spent all of their set watching the Waratah's play and chatting to Phil from Rather Be Dead.
After making us wait for fucking ages, The Dillinger Escape Plan finally came out. The venue definitely wasn't full - they were trying to desperately palm off tickets in the weeks leading up. I guess thats what you get when you're a bunch of jerks who have decided the $25 they charged the first time wasnt enough.
The came out and open up to one of the heavier songs off Ire Works, then jumped right 43% Burnt, then Panasonic Youth. How'd did the band act? Man they went fucking insane. By the end of the first song Greg drove into the crowd screaming, then jumped on top of a huge fucking PA speaker stack screaming his head off. Ben went as insane as he usually does, and he too ended up on top of his amp and the PA speakers at any point in time. Jeff Tuttle did his best to look gay with his big dyed black AFI style emo whip. He desperately tried to go spastic but just ended up looking really awkward and silly. Liam just stood there with his classy mo which reminded me of Derek Smalls (bassist of Spinal Tap) and looked like he was having a lot of fun.
They played the rockier pop song Milk Lizard and the crowd went ballistic because they were predominately 17 year old emo kiddies and art students. They bopped up and down like a homosexual faux pop rock crowd in some stupid music video clip. On the other hand, when they belted out Abe The Cop and Sugar Coated Sour I had to be the only person losing my mind while throwing around anyone near me. It was almost as if these kids didnt really even know Miss Machine - and I'm sure a lot of them had only heard of the group through Ire Works.
Anyway, they ended up playing Black Bubblegum and it was gay as. The crowd bopped around like shitheads again and sung every single word; again they seemed to know the words of all the poppy songs and nothing else. Nearly no one moshed unless there was a big and relatively easy breakdown.
By the end of the night Greg and Ben had jumped into the crowd countless times; Greg had throw his mic stand into the crowd more than once, awesomely catching some little kid in the face with it HARD the last time. Greg also thought it would be a good idea to ditch one of those large, heavy roadie travel cases into the crowd, as well as a huge bin and whatever else he could find.
They played a solid collection of songs; touching on all the heavier moments of Ire Works, most of Miss Machine as well as 43% Burnt, Abe The Cop, When Good Dogs Do Bad Things and Sugar Coated Sour (there couldve been one or two more earlier ones in there too) over about 60 minutes. All in all, Dillinger showed they are still amazingly energetic live and still love what they're doing. They also showed that their new following is gay and stood around perplexed when they went into any of their heavier, faster, more complicated or older songs.
Definitely not worth $80, but by no means a disappointment... aside from the crowd and the Roundhouse's sub-par acoustic properties.
The Dillinger Escape Plan's 'Kids of Lounge Pop and Sweater Grind' tour dates have been announced for Australian and New Zealand.
13th May - CAPITOL THEATRE, PERTH
15th May - LIVE ON LIGHTHOUSE SQUARE, ADELAIDE
16th May - TBC, MELBOURNE
17th May - UNSW ROUNDHOUSE, SYDNEY
19th May - THE ARENA, BRISBANE
21st May - TRANSMISSION ROOM, AUCKLAND
Supports and ticket details TBA.
Dillinger Escape Plan have joined a whole lost of fucking homosexual bands to jump on the Vans Warped Tour. Seriously - how gay are every one of these bands:
- All That Remains
- August Burns Red
- The Devil Wears Prada
- Every Time I Die
- The Human Abstract
- Norma Jean
- Protest The Hero
What a sad collection of wimpy fucking pseudo-hardcore and pseudo-grind bands. I guess with that shitty new album Dillinger put out they kind of fit in with it all. You know, as time goes on I hate that album more and more.
Dont get me wrong - its not a BAD album by any stretch. It's just plain average and fucking stale and devoid of new ideas. It's a "safe" album that lacks any originality or flair that the band is known for and it makes me sick. How do you go from the most innovative band in fucking extreme music to a stale parody? SNORE. They could've at least had a play with fucking Gil Sharone and wrote material to suit his style instead of just rehashing bullshit and failing at it.
Ya know, I was listening to Under The Running Board the other day and it helped put everything into perspective: The Dillinger Escape Plan are never coming back, and we will more than likely never again see anything as awe-inspiring, powerful or original and Calculating Infinity every again in our lifetime. It's a one-off. Never ever will they have that energy or inspiration; they are doomed to be complacent.
And people, stop calling the modern incarnation THE Dillinger Escape Plan. They took that out of their name to be arty - check your CD.
To call The Dillinger Escape Plan's latest album Ire Works perplexing is a great understatement. I've been aware that the album has been streaming online from their official MySpace site for some time, but I've opted not to listen to it until today (since my fucking pre-order should’ve been at my doorstep a week ago).
I checked out a few of the already published album reviews and I can safely every single one of them is full of shit – but hey, what else is new? A few dwelled on the fact that 'us hardcore (read: Calculating Infinity) fans' turned 'deserters' are going to hate this album. Others were busy masturbating to the very poppy couple of tracks on Ire Works as if they were awe-inspiring-ly groundbreaking and are going to change the world through pop a la The Beatles. There are more than two songs on the fucking disc people. Get a grip.
Anyway here is my no bullshit little critique of a real grind fan, of someone who fucking loves Calculating Infinity, Under the Running Board and Irony is a Dead Scene – but doesn’t unabatedly hate Miss Machine.
First up – anyone who thought that The Dillinger Escape Plan were going to spin around and return to the glory days of Calculating Infinity is retarded. Secondly - to those of you who thought we were going to cop an even further watered down Miss Machine – I'm glad to say you're wrong too.
This album is essentially another step in musical evolution for DEP. They have taken what they've did in Miss Machine and further progressed it. The better songs have chaotic blast beats and more complicated polyrhythms and syncopations than were found on Miss Machine. Overall most songs are structured a little better, and while we still have some of those catchy choruses they're much better thought out.
Some songs thrash around in mathcore/grind complexity until finally settling into a huge breakdown crescendo. The syncopation of When Acting As a Wave is just fucking stupid. It hurts my head its so messed up. 82588 has some crazy, fucked up, off-tap tech wankery that will make you instantly think of the Calculating Infinity days.
However, in addition to 5-6 songs in this vein, DEP have also decided to opt for a greater experimental flair. A couple of songs dabble further in electronics, ambiance and even Fantomas-esque moments. Sick on Sunday whacks out from drum and bass to electronic, circus moments, insane Genghis Tron guitar runs and ambiance as it builds into an outro that could’ve easily been written by Dog Fashion Disco.
Further, we've got some Sunshine The Werewolf / Unretrofied mainstream appeal songs – a few of which literally seem to be directly aimed at cashing into the pop emocore kiddies. Black Bubblegum sounds like it was written by Fallout Boy with a whacked out syncopation and an anthemic pop chorus (not particularly a good thing). Milk Lizard is a straight rockin' track, and I'll admit it – it’s catchy. Its rocky-ness however progresses into another power-poppy crescendo which seems a bit forced.
To sum up the album: the mainstream moments are more unashamedly mainstream. The experimental electro stuff more whacked out. The harder songs are more complex and heavier than most of Miss Machine. Considering the line up changes and what could’ve been, I’m impressed. I've only given it a few listens, but it certainly sounds promising.
Ire Works seems to be a very multi-faceted album that has succeeded in avoiding sterility or staleness in the writing process, and somehow managed to categorically avoid all preconceptions of how the album was going to sound.
Touché Dillinger. Touché.
Some jerks called 'Alternative Press' have posted another new The Dillinger Escape Plan song, cryptically called Milk Lizard.
The track comes off the group's upcoming album Ire Works, which is scheduled for a November 13 release in North America, November 5 in the UK, and November 12 in the rest of Europe. Pre-orders are available through the Relapse Records website.
The Dillinger Escape Plan recorded Ire Works with longtime engineer Steve Evetts at his Omen Room Studios in Los Angeles, California. The band recently filmed two videos, for Ire Works tracks Black Bubblegum and Milk Lizard, with producer/director Ilan Sharone (apparently from Stolen Babies too - err, Gils brother maybe?). The first of the two videos, Black Bubblegum, is expected to see its world premier sometime in November.
The Dillinger Escape Plan will embark on a U.S. tour with A Life Once Lost, Genghis Tron and Stolen Babies beginning early December. We can expect to see them again here in Australia sometime in 2008 - and pray that Genghis Tron comes with them.
Stream the new track here.
Ire Works Tracklisting:
1. "Fix Your Face"
3. "Black Bubblegum"
4. "Sick on Sunday"
5. "When Acting as a Particle"
6. "Nong Eye Gong"
7. "When Acting as a Wave"
9. "Milk Lizard"
10. "Party Smasher"
11. "Dead as History"
12. "Horse Hunter"
13. "Mouth of Ghosts"