Consistently, with every release, The Dillinger Escape Plan has reduced me to an utter state of disbelief. The speed with which they flow over notes and the calisthenic tempo changes are far beyond the skills of any other metal band. Now, with their new release, Option Paralysis, the bludgeoning power of their music has been expanded, the sound is bigger and more dominating, while the shift into the electronic induced mainstream metal takes a less noticeable and more comfortable step back.
Calculating Infinity, was a marvel of math metal engineering, the likes of which are mind boggling and unrivaled. I remember being completely blown away by the technicality of their musicianship. It almost seemed impossible for a band to be that energetic and crazy without spontaneously combusting. With the release of Miss Machine, you could identify a change within the band, obviously the line-up change for one, but the music started to form a more accessible sound. Accessible is a strong word to use when talking about Dillinger. The break neck speed of their songs and the abrasive screaming is always a mainstay with them, however, occasionally they will slow a song down and actually sing.
This change played a more prevalent part in their third release, Ire Works, with songs like “Black Bubblegum,” and “Milk Lizard.” Another change occurred in that release as well, a small yet noticeable comparison to Nine Inch Nails had pervaded into the mix with the song, “Dead As History.” After touring with Mr. Bungle and N.I.N., and also performing on Late Night with Conan O’Brien, Dillinger started to toe the line that many metal fans would call selling out. Take it or leave it, it is your loss anyway.
Option Paralysis is more similar to Miss Machine in a lot of ways, but there are instances where the accessibility level rises. Songs like, “Widower,” “Chinese Whispers,” and “Parasitic Twins,” all have a heavy focus on the singing of frontman Greg Puciato, with the latter being the strongest representational influence of Nine Inch Nails. The opener “Farewell, Mona LIsa,” is a strong and unrelenting start to a mostly powerful album that does not disappoint. The familiar and always impressive acrobatic song structures are resplendently displayed throughout the album, most prominently in songs like, “Good Neighbor,” “Crystal Morning,” “Endless Endings,” the latter of which is my favorite, and “Room Full of Eyes.”
The Dillinger Escape Plan’s new album, Option Paralysis is not ground breaking on any level. The consistency of their releases continues while the production quality has grown exponentially since their last release. A recommendation for a metal fan and a must have for a Dillinger fan, although the two should go hand in hand.
