Have you ever listened to a new album from a band that you
love, and it was exactly what you wanted, but still managed to surprise
you? That’s exactly how I felt
throughout my first playthrough of The Dillinger Escape Plan’s “One of Us is
the Killer,” and it was one of the greatest listening experiences I have ever
had. All bands change with time,
sometimes for the better (yes, I prefer newer, more progressive Iron Maiden
than their classic 80’s sound, deal with it), and sometimes, unfortunately, for
the worst (Finger Eleven. “Paralyzer”
sucks, and if that is the only song you have heard from them, I legitimately
feel sorry for you). Dillinger manages
to progress enough in the right direction, yet still retaining their sound that
makes them one of the most unique bands on the planet.
For those of you that may be unfamiliar with the New Jersey
math/metal/punk/jazz/all around kick-ass band, let me state that they are
certainly not for everyone. The constant
changing of time signatures and tempo, dissonant chords, jazz-infused
breakdowns, and screeching vocals are more than enough to turn the average
listener off, just as it did for me back when I first heard them. However, even if you can’t enjoy the music,
you have to appreciate the musicianship and thought that went into crafting
this release.
The album opens up with the single “Prancer,” which contains
classic elements from Dillinger’s entire discography, but is a bit more
“structured” than previous releases; and before I go any further, I want to
point out that the sequencing on this album is PERFECT. Each song melds flawlessly into the next,
while still retaining their own identity.
I’m not sure if Weinman had this in mind when he wrote them, but the
album flows better than anything I have ever heard.
The next track is “When I Lost My Bet,” featuring frenetic
guitars, jazzy drums, and chaotic vocals, but implements them in a way I
haven’t really heard the band do before (it also has a filthy music
video). The title track is more of a
“traditional” sounding song, but with a Dillinger twist. Sure, it uses clean vocals and power chords,
but Billy Rymer peppers in blast beats seemingly at random, and the track takes
a heavy twist towards the end.
(Try watching this and eating spaghetti. I dare you.)
The rest of the album continues to follow these trends, with being either insane-yet-refined ("Hero of the Soviet Union" and "Paranoia Shields"), or catchy with math elements peppered in ("Crossburner"), all melding seamlessly together. "Ch 375 268 277 ARS" is the band's first instrumental track I have enjoyed since "Calculating Infinity," and is, in my opinion, even better. The closer, "The Threat Posed by Nuclear Weapons" is a perfect way to end the album, throwing in every element previously discussed, but without seeming convoluted or aimless. This track also features some of the best lyrical work on the album.
"One of Us is the Killer" grabs you brutally by the face proceeds to rape your ears for its entire forty-minute duration. Long-time listeners will have nothing but praise for this release, and it could possibly convert a few new fans out of anyone who is open-minded enough to give it a serious chance. This is though-provoking music, not because of the lyrics (which are great, don't get me wrong. Greg Puciato is one of my favorite lyricists of all time), but because every song sucks you in and makes you ask yourself how anybody could construct this kind of chaos and make it sound so good. I wouldn't say that there are many perfect albums out there, but this one is certainly among them.
10/10
