Album Name:
Option Paralysis
By:
The Dillinger Escape Plan
Expected Release Date:
OUT NOW
Label:
Party Smashers Inc/Season of Mist
Genre:
Mathcore
Track Listing:
1. 'Farewell, Mona Lisa' − 5:23
2. 'Good Neighbor' − 2:30
3. 'Gold Teeth on a Bum' − 5:22
4. 'Crystal Morning' − 2:02
5. 'Endless Endings' − 2:32
6. 'Widower' − 6:23
7. 'Room Full of Eyes' − 4:15
8. 'Chinese Whispers' − 4:06
9. 'I Wouldn't If You Didn't' − 4:14
10. 'Parasitic Twins' − 4:41
Album Score:
8/10 – Puciato is still finding his feet with some
of the more melodic segments but this doesn’
t massively affect the enjoyment or genius of
this otherwise nearly flawless release. Though
if you weren’t a fan before the chances are
this album is unlikely to change your mind
about Dillinger. If you haven’t heard them
before but are a fan of heavier Metalcore then
this is still highly recommended.
Option Paralysis
By:
The Dillinger Escape Plan
Expected Release Date:
OUT NOW
Label:
Party Smashers Inc/Season of Mist
Genre:
Mathcore
Track Listing:
1. 'Farewell, Mona Lisa' − 5:23
2. 'Good Neighbor' − 2:30
3. 'Gold Teeth on a Bum' − 5:22
4. 'Crystal Morning' − 2:02
5. 'Endless Endings' − 2:32
6. 'Widower' − 6:23
7. 'Room Full of Eyes' − 4:15
8. 'Chinese Whispers' − 4:06
9. 'I Wouldn't If You Didn't' − 4:14
10. 'Parasitic Twins' − 4:41
Album Score:
8/10 – Puciato is still finding his feet with some
of the more melodic segments but this doesn’
t massively affect the enjoyment or genius of
this otherwise nearly flawless release. Though
if you weren’t a fan before the chances are
this album is unlikely to change your mind
about Dillinger. If you haven’t heard them
before but are a fan of heavier Metalcore then
this is still highly recommended.
The Dillinger Escape Plan - 'Option Paralysis'
Album Review - March 29th 2010
Album Review By Adam Sandrey
BIO:
The Dillinger Escape Plan (Dillinger or TDEP in future
reference) formed in 1997 from the remnants of hardcore punk
band Arcane. They are one of the godfathers of the mathcore
genre. For those unfamiliar with mathcore it is a derivative of
metalcore and has a very technical sound and makes use of
complex rhythms and unusual time signatures. If you are
wondering where they got the band name from it is derived
from the famous 1930’s bank robber John Dillinger who
managed to escape jail on multiple occasions. The band left
Relapse Records and in May 2009 reported that the latest
release would be released on their own label, Party Smasher
Inc, which is actually collaboration with French label Season of
Mist. They citied that they did not wish to continue with
Relapse because of how the label had handled the previous
album release.
'Option Paralysis' is Dillinger’s eagerly awaited fourth full
length LP release and is the first album to feature drummer
Billy Rymer. It was recorded between September and October
2009 and was produced by Steve Evetts (producer of their last
album Ire Works and has produced albums by Alesana, Every
Time I die, Still Remains and Story of the year).
REVIEW:
Where to start with Dillinger’s longest and “most metal record
yet” (guitarist/founder Ben Weinmam)? Well I guess the start is
as good a place to start as any. The first track is called
Farewell, Mona Lisa and is also the first video clip to be
released from the record. After a short guitar based intro that
sounds almost wild western the album kicks off with great pace
and some sheer ferocity with Greg Puciato’s guttural screams.
The first couple of minutes are a lesson in mathcore genius
with brilliantly layered guitar work and an absolute sense of
organised chaos; it is exactly what you would expect from a
band that has helped pioneer the genre. At around the 1:50
mark the track slows right down with a progressive rock
segment which is used to showcase the increased range of
Puciato’s voice.
His croon may not be to everyone’s taste but there is no doubt
that in this instance it works well and just highlights progressive
nature of Dillinger’s music. After this segment the track
continues with yet another rhythmic timing but back with the
guttural screaming and metalcore styling chanting even in
some parts. This track is very typical of the kind of avant-garde
metal that the band are producing these days and as you
would expect from a single it is suitably accessible but without
really losing any of the sheer power of their sound.
I would like to highlight track 7, Room Full of Eyes at this point
because although it is still a pretty great track it does highlight
one of the weaknesses that has come from Puciato’s
increased vocal range. The first half of the track is another
good example of Dillinger doing what they do best; complex
layered riffing with manic vocals and drumming. However at the
3 minute mark Puciato breaks into a vocal passage containing
a wide range of clean vocals which feel almost forced and
make Puciato sound suitable uneasy with his own voice. While
the passage only lasts around 30 seconds and is far from
terrible it does highlight this problem; Puciato doesn’t always
use his range effectively and that they may include such
segments more because they feel they should rather than
want to. The rest of the track is great and to the untrained ear
you might not even notice the problem, but the second half of
the track and particularly that 30 seconds or so sounds a little
cobbled together.
Apart from the minor problem highlighted above, everything
that Dillinger try works beautifully and is a true show of the
talent undoubtedly held by the band. Their live shows too are
absolutely fantastic and everything new they do on this album
will work a treat in their already legendary, manic live arsenal.
Over recent albums Dillinger have used an increase in piano
work and track 6, Widower is a fantastic example of this. It is
nothing short of spectacle and is a great piano ballad, yes that’
s right, a ballad! The piano use is epic and Puciato’s vocal
hooks compliment this exceedingly well.
The whole thing really sucks you in and cannot help but keep
your attention. At around the 4 minute mark the track breaks
away from the ballad and extends into another mathcore
class., albeit with vocal hook still in place. The track is a
perfect example of the range of the band that they can
progress from piano rock, to mathcore and avant-garde metal
and back to piano rock in the same track and make it seems
effortless. Widower is a truly great track and something a little
different that you might not have expected from the band. That
is the beauty of such metal bands though, the fact that you
cannot always predict what they will do next and even when
they do try something different they nail it (almost) every time.
In summation Option Paralysis picks up where Ire Works left
off, but rather than resting on their proverbial laurels it actual
keeps on running.
This album is nothing short of genius; varied, complex, heavy
but still utterly accessible. This release will undoubtedly follow
the same example of Ire Works and will be massively under
rated but still be held with high esteem within the music
business. After this release dubbing the band “mathcore” is no
longer strictly true; whilst they still deliver mathcore and with
the same passion and quality they always have they have built
upon this with more progressive rock elements, a once again
increased vocal range (that almost always works), increased
use of piano work and avant-garde metal.
If you are a fan of raucous, boisterous, turbulent hardcore but
with metallic edges and an increased dash of beauty and
involving progressive rock then you will love this. If you prefer
less involving, more bog standard and uninventive commercial
metal like Atreyu, Bullet or A7X then chances are you probably
wouldn’t appreciate the album. The more melodic passages
within the tracks should and could be appreciated by
everyone, even those with less complex tastes.
Album Review - March 29th 2010
Album Review By Adam Sandrey
BIO:
The Dillinger Escape Plan (Dillinger or TDEP in future
reference) formed in 1997 from the remnants of hardcore punk
band Arcane. They are one of the godfathers of the mathcore
genre. For those unfamiliar with mathcore it is a derivative of
metalcore and has a very technical sound and makes use of
complex rhythms and unusual time signatures. If you are
wondering where they got the band name from it is derived
from the famous 1930’s bank robber John Dillinger who
managed to escape jail on multiple occasions. The band left
Relapse Records and in May 2009 reported that the latest
release would be released on their own label, Party Smasher
Inc, which is actually collaboration with French label Season of
Mist. They citied that they did not wish to continue with
Relapse because of how the label had handled the previous
album release.
'Option Paralysis' is Dillinger’s eagerly awaited fourth full
length LP release and is the first album to feature drummer
Billy Rymer. It was recorded between September and October
2009 and was produced by Steve Evetts (producer of their last
album Ire Works and has produced albums by Alesana, Every
Time I die, Still Remains and Story of the year).
REVIEW:
Where to start with Dillinger’s longest and “most metal record
yet” (guitarist/founder Ben Weinmam)? Well I guess the start is
as good a place to start as any. The first track is called
Farewell, Mona Lisa and is also the first video clip to be
released from the record. After a short guitar based intro that
sounds almost wild western the album kicks off with great pace
and some sheer ferocity with Greg Puciato’s guttural screams.
The first couple of minutes are a lesson in mathcore genius
with brilliantly layered guitar work and an absolute sense of
organised chaos; it is exactly what you would expect from a
band that has helped pioneer the genre. At around the 1:50
mark the track slows right down with a progressive rock
segment which is used to showcase the increased range of
Puciato’s voice.
His croon may not be to everyone’s taste but there is no doubt
that in this instance it works well and just highlights progressive
nature of Dillinger’s music. After this segment the track
continues with yet another rhythmic timing but back with the
guttural screaming and metalcore styling chanting even in
some parts. This track is very typical of the kind of avant-garde
metal that the band are producing these days and as you
would expect from a single it is suitably accessible but without
really losing any of the sheer power of their sound.
I would like to highlight track 7, Room Full of Eyes at this point
because although it is still a pretty great track it does highlight
one of the weaknesses that has come from Puciato’s
increased vocal range. The first half of the track is another
good example of Dillinger doing what they do best; complex
layered riffing with manic vocals and drumming. However at the
3 minute mark Puciato breaks into a vocal passage containing
a wide range of clean vocals which feel almost forced and
make Puciato sound suitable uneasy with his own voice. While
the passage only lasts around 30 seconds and is far from
terrible it does highlight this problem; Puciato doesn’t always
use his range effectively and that they may include such
segments more because they feel they should rather than
want to. The rest of the track is great and to the untrained ear
you might not even notice the problem, but the second half of
the track and particularly that 30 seconds or so sounds a little
cobbled together.
Apart from the minor problem highlighted above, everything
that Dillinger try works beautifully and is a true show of the
talent undoubtedly held by the band. Their live shows too are
absolutely fantastic and everything new they do on this album
will work a treat in their already legendary, manic live arsenal.
Over recent albums Dillinger have used an increase in piano
work and track 6, Widower is a fantastic example of this. It is
nothing short of spectacle and is a great piano ballad, yes that’
s right, a ballad! The piano use is epic and Puciato’s vocal
hooks compliment this exceedingly well.
The whole thing really sucks you in and cannot help but keep
your attention. At around the 4 minute mark the track breaks
away from the ballad and extends into another mathcore
class., albeit with vocal hook still in place. The track is a
perfect example of the range of the band that they can
progress from piano rock, to mathcore and avant-garde metal
and back to piano rock in the same track and make it seems
effortless. Widower is a truly great track and something a little
different that you might not have expected from the band. That
is the beauty of such metal bands though, the fact that you
cannot always predict what they will do next and even when
they do try something different they nail it (almost) every time.
In summation Option Paralysis picks up where Ire Works left
off, but rather than resting on their proverbial laurels it actual
keeps on running.
This album is nothing short of genius; varied, complex, heavy
but still utterly accessible. This release will undoubtedly follow
the same example of Ire Works and will be massively under
rated but still be held with high esteem within the music
business. After this release dubbing the band “mathcore” is no
longer strictly true; whilst they still deliver mathcore and with
the same passion and quality they always have they have built
upon this with more progressive rock elements, a once again
increased vocal range (that almost always works), increased
use of piano work and avant-garde metal.
If you are a fan of raucous, boisterous, turbulent hardcore but
with metallic edges and an increased dash of beauty and
involving progressive rock then you will love this. If you prefer
less involving, more bog standard and uninventive commercial
metal like Atreyu, Bullet or A7X then chances are you probably
wouldn’t appreciate the album. The more melodic passages
within the tracks should and could be appreciated by
everyone, even those with less complex tastes.
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ADDITIONAL NOTE:
The Dillinger Escape Plan have been confirmed to play
the Metal Hammer Stage at Download this year.
The Dillinger Escape Plan have been confirmed to play
the Metal Hammer Stage at Download this year.
