![]() One could listen to an instrumental version of Calculating Infinity and still be very pleased with the results, but vocals are integral to the songwriting in Irony, and, really, all later Dillinger songs (minus instrumentals, obviously). This is a very singer-oriented album, though. (For those who don’t know, singer Dmitri Minakakis left the band earlier to start a career in graphic design.) Irony is the first Dillinger release that utilizes clean vocals, which may not seem ground-breaking, but definitely paves the way for Greg Puciato’s later inclusion to the band. Though technically an EP by the band, Irony Is a Dead Scene is perhaps the most important release by the band because of experimental singer-songwriter/avant-garde mastermind Mike Patton’s undeniable influence on the band’s future sound. Irony Is A Dead Scene (2002, Epitaph/Buddyhead) So, while it isn’t their best, Calculating Infinity absolutely solid and incredibly necessary release for the hardcore and metal scene at this moment in time. There is some major foreshadowing, though, in songs like “#.” (however one pronounces that title) and “Weekend Sex Change,” where some light electronics are used, mostly for effects purposes, and where the jazz tendencies of the band are really given their own sonic-spotlight. Still very solid, mind you, but not as dazzling as what is to come. ![]() At this point, the track listing sounds like any other mathcore band that would soon be hitting the scene after Dillinger: Psyopus, Botch ( We Are the Romans was recorded about a month after Calculating Infinity), Converge, etc. They lack the edge and the variance that later releases bring. But while compositionally the songs on Calculating Infinity are complexly written and technically ambitious, they aren’t necessarily inspired. ![]() Now, wait-before you bring out the metaphorical pitchforks and torches, please hear me out.įirst of all, it serves its purpose: it’s a very important album in metal history there’s no denying that. However, though, I don’t believe this is Dillinger’s best release. Ben Weiman’s guitars are crazy fast-and, arguably, at their most complex-and the switching between all-out, oddly timed hardcore and creepy jazz fusion creates a schizophrenic sound that has since become a signature style of the band. On the technical side of things, Calculating Infinity is amazing to listen to: the word “mathcore” actually had to be coined to describe this album. And how could they not? The band-and original singer Dmitri Minakakis-bring forth what is perhaps best described as a grenade explosion set to a beat in Dillinger’s debut album. Most of the hardcore fans I’ve met swear by Calculating Infinity. Calculating Infinity (1999, Relapse/Hydra Head) And it shows, as there really isn’t a bad Dillinger Escape Plan album-they’re all solid in their own, unique ways. ![]() Ben Weinman and company don’t give a shit what anyone else thinks about their music, and are prepared to do what they need to do to make their music. I had seen this video before-a lot of people have-but while I watched it this time, I realized how symbolic this was of the Dillinger Escape Plan as a whole. For previous articles, click here.īefore writing this, I watched The Dillinger Escape Plan perform “Prancer” live at the 2013 Golden God Awards, where, about halfway into the song, Greg Puciato cuts his head, yet performs, blood just streaming down his face, and finishes the song, even smashing a guitar against the huge wall of Orange Amps in the process. Every band here has new material on the way that we all can’t wait to sink our teeth into. Welcome to Half-Life, where we celebrate a patricular artist’s catalog, while also looking forward to the future.
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