![]() Where ‘Symptom…’ is relatively straight forward, ‘wanting not so much as to’ is a ferocious, jazz-infused blast with angular guitars stabbing and grinding against Billy Rymer’s endlessly impressive percussion. It’s eerie how close Greg comes to the vocal stylings of Mike Patton in places, but as the song progresses, its schizophrenic bursts of noise are pure Dillinger whilst the intelligently written lyrics are darkly evocative of the titular subject matter. In contrast ‘symptom of terminal illness’ is a dark, subtle piece of music that sounds like hell’s own lounge band, recalling both Fantomas and Faith No More at their inventive best. Greg’s vocals, if anything, sound more unhinged than ever and his blood-spattered roar takes on the aspect of a mad cross between Mike Patton and Jello Biafra as the song careers towards its deranged conclusion. Having openly stated that any search for clues regarding their split within the music itself will be a futile one, ‘Limarent Death’ can be approached simply as a near perfect expression of the Dillinger sound. Opening with the searing rage of ‘Limerent death’ there’s no sense that the band’s end is nigh and they sound as brutally forthright as ever. Represented with remarkable clarity thanks to the powerful-yet-clean production of Steve Evetts the ever-reliable mixing work of Kurt Ballou and Josh Wilbur and mastering by Alan Douches, ‘Dissociation’ is a multi-tiered celebration of the wilful perversity of the band’s impressive back catalogue and it emerges as their finest work to date with a sense of atmosphere and drama that is uniquely Dillinger-esque in conception. ![]() There is no drama here – the band simply felt that they should conclude the work of Dillinger escape Plan on a high and, in ‘Dissociation’ they have absolutely succeeded. It seems fitting, then, that the band end things on their own terms, releasing one last album to let the music do the talking and cleverly avoiding the soap-opera drama that so often comes with band breakups and which sees music journalists suddenly do an impressive imitation of tabloid hacks. Whether it be Greg Puciato hurling faecal matter into the crowd during an unfeasibly early slot on the main stage at Reading Festival in 2002, thus providing a rather more visceral expression of his feelings regarding the other bands on the bill that day or the band collaborating with Mike Patton to provide an unnerving cover of Aphex Twin’s ‘Come to daddy’ on the ‘Irony is a dead scene’ EP of the same year, Dillinger Escape Plan took their music and their ethos to places that few artists dare follow. ![]() In a scene crowded by pale imitators, it’s difficult to express the monumental impact that Dillinger Escape Plan had upon the metal scene, first when they exploded forth in 1999 with ‘Calculating infinity’ and later when they cemented their mastery over it with 2004’2 ‘Miss machine’. ![]()
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