The Dillinger Escape Plan is a band who have changed the face of music with their chaotic form of "math metal", fused with exotic time signature changes, bizzare rhythms, and generally blistering songs. Vocalist Mike Patton (Faith No More, Fantomas, Mr. Bungle), as many members of his fan base would tell you, has been called a musical genius, who has delved into different genres of music, mashed them together in often unpredictable manners, expiremented wildly, acheived success, and still maintained his place in the music world. This album is what happens when two undeniably original and chaotic musical forces meet together, and it is an insane experience.
Irony Is A Dead Scene is a four-song EP. Many Dillinger fans saw this as a "sell-out" album, which really shows how off-the-beaten-path DEP was to begin with. The truth is that no song on this album is anywhere close to mainstream, and most are far from easily accessible. This is a band that takes a while to get used to, and many listens to sort the general madness out in any discernible fashion. The reason many fans claimed this to be mainstream is because at times, it does have 4/4 time signatures, and it does have melodic interludes. Despite all the toning down DEP faced after teaming up with Patton, this is still a chaotic experience. I'll give it to you song-by-song:
Hollywood Squares - The loudest track. Undeniably heavy almost the entire way through, yet its heaviness is more dissonant and disturbing than most metal bands acheive. Mike Patton introduces his vocal stylings here and sets the tone for the rest of the album: madness. He shrieks, squeals, and uses generally evil voice tones, filters, and synths just to give you that uncomfortable feeling that still manages to just feel right for the band. It has a slow section which isn't happy or sad, but undeniably malevolent instead, even with the light, slow feel. 5/5
Pig Latin - The most accessible song on the album. There are melodies in many places, particularly the intro and the interlude, which contains deep chants of "freedom". The verses, however, are still violent and swift, with Patton making noises and yells throughout. Possibly the most structured song (or least structured, depending on how you look at it), and still a keeper. 4.5/5
When Good Dogs Do Bad Things - An epic and chaotic track altogether. The first half is entirely brutal and terrifying. At one point, Patton actually brings his finger up and down on his lips like a madman, and soon after that there are huge, epic, repetitive chants of "mommy". The time signatures change wildly, making it near impossible to keep up, and Patton makes some of the most painful-sounding screeching I've ever heard. Once the half is over, the sound of a film reel ushers in a slow section that is undeniably evil. Patton's voice goes from a creepy high to an aggressive, percussive low, only to unleash a barrage of screeches that match the ones from the first half. Not to mention the outro, which is a blast of insanity. This is the pinnacle of the album. 5/5
Come To Daddy - An Aphex Twin cover. It's quite clear if you've heard the song that it was made a techno song, making it difficult for a band to cover considering the outrageously high BPM (somewhere around 180). Chris Pennie keeps up the pace and still manages to beat out the original with his insane drumming the entire way through. If you're a fan of the song, you'll probably love this. I don't care for it much, as it doesn't showcase the rest of the band other than Pennie. Still not too bad, though. 3/5
The only big problem with this EP is its length, but it is an EP, so it's expected to be short. Still, it leaves you wanting more insanity once you've settled into the organized chaos. 4/5
NOTE: This is an old review that got lost in the switch, I just resubmitted it.