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Everything Old Is New Again

By David King

Dillinger Escape Plan

Option Paralysis

Dillinger Escape Plan, like a lot of other progressive metal bands, had one defining moment when they became more than just a metal band. Between the Buried and Me had Colors; Mastodon had Blood Mountain; Dillinger had Miss Machine. So far none of those bands have really moved past those albums—on Miss Machine, Dillinger made the change from ragged uncompromising jazz-metal deconstructionists to masters of beautifully controlled chaos with the help of new singer Greg Puciato. Since then, the band haven’t been sure how to move forward, instead combining the sounds of previous albums. It sounds like a band lost.

Listening to the new Dillinger Escape Plan album, Option Paralysis, feels a lot like watching the movie Memento for the third or fourth time—you already know the twist, and the acting and pacing are starting to wear thin. The raggedness of their early releases is there, as are the epic choruses and keyboard playing that made Miss Machine great. Unfortunately, the band used their best hooks two albums ago. And Puciato’s lyrics have become increasingly amateur and grating. Anyone who has heard a Dillinger record knows that the musclebound Puciato has had maybe one or two bad breakups, but lyrics like “It’s an ordinary day/I can fix you if you come my way” (from “Gold Teeth on a Bum”) and “Although I miss you, I never say I do/Bleed like the rain that’s falling/Cut me through and through,” solidly position the band in sappy, teen-breakup, Killswitch Engage territory.

I had always expected the band to evolve at a faster rate, but perhaps that was just unfair. They are a metal band, and they do that part well—the musicianship here is tight as always. But the keyboard work on a few tracks, by longtime David Bowie sideman Mike Garson, is interesting but not captivating, or even truly experimental. While this is a metal record, and I’m sure it will work wonders in the mosh pit, I would argue that Dillinger should no longer be labeled as experimental or avant-garde. They made their contribution to the genre, and their albums can still be challenging and quirky for those unfamiliar with jazz-metal, but they are no longer breaking new ground.

There was a time when a number of critics thought Dillinger could be the Radiohead of metal—a genre-changing, paradigm-shifting blessing to their style. Of course even Radiohead could never even keep up with that burden, but after Option Paralysis, this critic thinks Dillinger Escape Plan’s releases are beginning to have much more in common with Muse—interesting riffs, a few catchy songs, and the same thing, over and over again. Hey, a Muse album can be entertaining from time to time, but it’s not Radiohead. Option Paralysis is not bad, but it’s no Miss Machine.

 

Mount Mole

MMX

Ever since laptop recording technology became accessible and affordable enough to rival real-deal studio recordings, the genre of “bedroom pop” has come to mean a lot of things besides skuzzy lo-fi music intended for limited distribution. Armed with a guitar, a drum machine, and a keyboard, Paul Coleman (aka Mount Mole) is the prototypical bedroom-pop artist, fashioning the tracks on MMX through late-night solo recording sessions in a room next to a sleeping infant.

True to the genre, Coleman’s tunes are pensive and delicate, often reading like personal journal entries or missives to unnamed lovers. But they never feel dashed-off or clumsy. Building from glitchy drum programs or delay-laden guitar figures, each track is a calculated assemblage of textures that cradles and encourages Coleman’s unadorned vocals. “Little Eyes,” likely an ode to that neighboring baby, and “Your Branches” are the standout pop tunes, lingering somewhere in the space between the Postal Service and the Sea and Cake.

The flip side to Coleman’s introspective whimsy, though, is an agitated loneliness owing to darkwave artists that, at times, spills over into outward paranoia. “Trembling Hands” rides an urgent synthesizer riff and industrial stomp toward a sense of emotional futility, and “Blood in the Dirt” attempts to start a (final) dance party amid an ominous, crumbling world. It’s in the album’s two short instrumental sketches (“Untitled #5” and “Untitled #9”), though, that Coleman most effectively communicates the blissful intimacy of toiling in the dark. Chiming guitars echo and drone like a hazy lullaby version of something Sigur Ros would stretch into a heart-wrenching climax. The fact that Coleman keeps it miniature, though, is probably for the best. MMX is easy to digest, and won’t wake the baby.

—Josh Potter

 

Surfer Blood

Astro Coast

Twin Peaks and David Lynch/Met on your couch at Syracuse/Your sexual advances/Are unconvincing and untrue,” sings John Paul Pitts on “Twin Peaks.” They are the kind of lyrics that could spell brilliance or disaster for a band with big guitar work and more than a generous nod to the Pixies, Pavement and Weezer. But there is no hint of pretense in the band’s work. Instead what they deliver feels a lot like playing a Gibson SG in a garage on a hot summer day—a garage very close to a nice beach. This is a guitar album for long drives and headphones in the park. The reverb on the vocals on “Swim” swells to the point that if the guitars weren’t distorted you might think you were listening to the choral-folk styling of Fleet Foxes. Songs like “Neighbor Riffs” and “Twin Peaks” deliver a fleeting sense of familiarity interspersed with a sense of adventure and a big dose of “who-gives-a-fuck-we-are-playing-rock-&-roll” attitude. This is surf rock for kids who never got a chance to hear any of its previous incarnations and for those yearning for that kind of carefree rock & roll that makes summer that much better.

—David King


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