REVIEW: The Dillinger Escape Plan – Dissociation (Album)

Name a band that decided to pack everything up and call it a day at the very height of their career………. can’t do it? That’s because to almost every other band on the planet the very thought of doing such a thing would seem insane. But all those other bands are not The Dillinger Escape Plan, and ending it all at their most powerful moment is exactly what the US experimental legends have decided to do. With more or less two decades in the books, TDEP have never been more popular or more dangerous, making the decision to end it all now a very bold, brave and dare I say inspirational one. Not wanting anything about the band to become predictable or ‘gimmicky’ they are going out with a bang the only way they ever wanted to……. on their own terms.

Before they supernova, however, they are leaving one final gift for the world to devour and that gift goes by the name Dissociation. One last ride to really bring the boat home and smash it into the docks. And in a world where the word unique tends to get banded around more than a little too freely, Dissociation really is a grand farewell from one of the most genuinely unique bands heavy music (or any other genre for that matter) has ever known.

The 50 or so minutes that are contained within this album are some of the most visceral, explosive, sincere, chaotic and emotive the band have ever created. A true whirlwind adventure that delves deep into experimentation, expression and emotion, providing definitive and undeniable proof that music is always at its best when it is created with zero regard for boundaries, traditions and the trends of the mainstream. A bastion of creativity and diversity that is unequalled by any other act of any genre, ESPECIALLY in terms of complexity. Of course when you look at heavy music there are the pioneers of what some may term as progression or innovation. Awe-inspiring bands such as Meshuggah, Tool, Animals As Leaders, Converge and many many others all doing, or have already done, some truly amazing things, but if we are all completely honest with ourselves, The Dillinger Escape Plan, took that torch of experimentation and innovation and ran with it…and I mean REALLY ran with it!

So what is really contained within Dissociation?

Opening song and lead single Limerent Death picks up exactly where previous album One Of Us Is The Killer left off. A blistering offering of polyrhythmic chaos that twists and turns in a way that Dillinger have honed to an extremely sharp point. There is something more to this opener however. There is a heaviness and focus that is deeply refreshing. Commented on by the only remaining founding member and guitarist Ben Weinman, he described Limerent Death as “one of the rare instances where all the members are feeling and conveying the same energy from start to end. A sharp, focused dagger ploughing its way through thick heavy walls.” It truly is an absolute destroyer of a song. The building tempo and intensity that leads to the end of the song is a marvel. A masterclass in gathering energy and putting it to use with a very pure, devastating effect. The ending of the opener gives way to what might traditionally be described as “the single” on Dissociation. Symptom Of A Terminal Illness exhibits the bands ability to step away from the chaos momentarily and produce something a little more stripped back and ‘simplistic’ whist still very much retaining the essence of what this band is really all about. This song also contains one of the albums best performances from vocalist Greg Puciato. His ability to write a killer chorus is undeniable and his switching between singing and screaming throughout this album is nothing but spectacular.

There are many ‘moments’ though as the album progresses. From the instrumental electronic landscapes of Fugue to the jazz-rock-fusion breaks of Low Feels Blvd, there are few stones left unturned. Some of the most impactful parts of the album, however, are those that are laden with a simply unbelievable amount of swagger. There are songs, and sections of songs alike, that will strut out of your speakers and into your ears without giving a single solitary fuck. A good example of this is Apologies Not Included. This is the type of song that instantly has an impact on you and everything around you. It is a song where the drums of Billy Rymer shine just that little bit brighter also. Make no mistake, his performance is flawless from the first beat of the album to the last but his ability to provide complexity that is not overwhelming is truly a gift. Conversely, his performances on songs like Honey Suckle will take you on a mind-bending, schizophrenic journey that leaves the listener in pure wonder as to how he is able to co-ordinate his limbs in such a way. His parts on Dissociation are not just high level, they are a snapshot of what is possible at the highest level. The manner in which the drums on this album both add to the mayhem whilst simultaneously providing an unbelievably solid foundation is a truly inspirational and fundamental element to the record as a whole. Maybe the most spectacular ‘moment’ on Dissociation, however, is contained within Nothing To Forget. There is a break in the middle of this song that is a thing of absolute beauty. The tenderness is in the voice of Puciato combined with the (mostly) stripped back drums, clean guitars and sensational strings provides a moment unlike any other on this album or any other Dillinger album for that matter. A perfect momentary respite from the chaos.

Historically, on previous Dillinger records, the final song would work to a kind of crescendo that would almost feel as if it was designed to leave the listener craving more. A giant “to be continued” as it were. Songs such as The Perfect Design from 2004’s Miss Machine or The Threat Posed By Nuclear Weapons, the impeccable closer to 2013 record One Of Us Is The Killer, are excellent examples of this and singer Greg Puciato has explained this himself in various media appearances recently, but the band have gone for a very different approach when closing out this, their final record. Final song, and title track, Dissociation, is as close to the polar opposite of the aforementioned songs as you are likely to get. Multiple layers of both beautifully warm yet eerie strings and electronic drums kick things of and lay a concrete base for what is arguably the best sung performance of Puciato’s tenure with The Dillinger Escape Plan. It is very clear that his time working on/with his project The Black Queen has paid dividends. He sounds more comfortable in his own voice than he ever has. Mastering his range and delivery perfectly. This closing track provides a very haunting yet definitive end to the album. Closing line “finding a way to die alone” is a very strong reminder that this will be the final release from the band. It is an extremely emotive performance and song that provides an ideal close to the album. Layered, harmonised vocals remain as the drums and strings gradually fade leaving a feeling of a car driving off into the night, lights gradually vanishing over the horizon. Never to be seen again.

So, as the end of Dissociation arrives and we are left with only out thoughts, what is there to say about the final record from TDEP? The main thought that comes to mind is that with their final offering, The Dillinger Escape Plan have managed to create an all-encompassing tsunami of a record that, for the most part, lays waste to anything that dares attempt to cross its path. Yet still, there is an emotional range, honesty and dexterity to the record that arguably stands stronger and truer than all the other elements combined. This band have made many-a-heavy album in their time but there is a heaviness to Dissociation that is very much a new level for Dillinger. There is a weight and dynamic to this album that we have not truly seen from them in this fully fledged form before. There is a feeling of discomfort that runs throughout that only seems to add to the overall effect this record will have on its listeners. This is clearly not an album that was rushed together or phoned-in without any serious thought. This is the sound of a band absolutely not going through the motions and dare I say a band that are not overly happy with the fact that their time is coming to an end? Guitarist and founder Ben Weinman has recently expressed his feelings that there is a great deal of power to be gained from one’s ability to make and deal with difficult decisions and whilst this is certainly true, there is something a great deal of both new and older bands alike can take from it. The decision to stop when in your absolute and undeniable prime is a strange one and, for sure, a hard one to make but it can also be the 100% right one. Not allowing yourselves to become played out and gimmicky should be at the top of every successful bands list of priorities, after making and putting out the best music they can possibly make, of course. But when we really examine the career trajectory of The Dillinger Escape Plan it is somewhat more simple than maybe others have previously thought. They arrived, created their own genre and artistic space, took complete control of their career away from labels and managers by starting Party Smasher Inc, never EVER put out a bad record, destroyed every venue and every live show they ever played, became one of the most referenced bands when it comes to inspiring the next generation and went out with a fucking big bang and most importantly managed to navigate and execute all of this, for the most part and certainly for the latter half of their career, on their own terms.

Sounds like the template for the perfect career to me.