They are above all interesting and demonstrative of the mimicry that The Dillinger Escape Plan has taken on in recent years, showing that they may have reached the apex of their artistic intent without severing in its entirety the connection to their earlier years. Close your eyes during the lush string section and you’d swear you were listening to a completely different band. It’s an interesting effect if one that ultimately resembles two separate songs stitched together. “Nothing to Forget” and the title track in particular feature the perfect transitions between soothing and obliterating soundscapes. “Surrogate” is stitched together from what sounds like two songs separated by a brief moment of silence, giving your brain just enough time to make a distinction of the lapse in sound before transitioning into a different style completely. Not every track feels as natural to the sound they’ve cultivated, but that’s not necessarily an indictment of their quality. It’s one of the best tracks on the album, and additionally, their entire catalog. It’s a soundscape of scatological vagueness with accentuated flurries of brilliance. “Low Feels Blvd,” with its smooth experimental jazz breakdown between verses, creates a sea of tranquility among the utter grinding despair of the band’s explosive sonic tantrums before plunging listeners back into the fury and chaos. It’s not a display of skill so much as it is an insistence that Dillinger Escape Plan are still champions of their respective sound.ĭissociation is also an interesting balance between organic sounds via their instruments and inorganic sounds through electronic presence, a key technique they’ve used to great effect throughout. “Fugue,” a warped instrumental, flirts with a bevy of electronic influences, sounding at times like a distorted trip-hop single and easily sliding into IDM reminiscent drum machine insanity. The drum work sounds almost mechanical, inhuman, and that’s the fascinating aspect of DEP-the harrowing amount of talent behind every track. There’s a frenzied and frenetic climax displayed here that amounts to sheer discordant brilliance. “Wanting Not So Much As To” is more symphonic in its construction, with immense and exaggerated guitar work, leaving not a single string untouched. There are several moments in which Greg Puciato’s vocals sound absolutely possessed, coinciding masterfully with the purposeful derailment of time signatures. The album opens with “Limerent Death” a smoldering, visceral wave of sound. The answer to the former is clearly “a lot,” though the second half is bit more complicated. The question is, what does Dissociation do that’s new, and how does it function within their distinct oeuvre? ![]() This is everything that could be, and should be expected from a band operating at the apex of their talent and efficiency as musicians and more importantly, pioneers. ![]() If at any time The Dillinger Escape Plan cultivated concern that their final studio album wouldn’t sound like a bunch of deranged, knife-wielding degenerates assaulting your eardrums, well, worry not.
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