Dillinger Escape Plan - Option Paralysis

Dillinger Escape Plan - Option Paralysis

After listening to Dillinger Escape Plan’s latest album, Option Paralysis, on repeat for the past week, I felt it necessary to write my own little review of it. Here goes.

Yeah. They still got it.

Seriously. This album kills. There seems to be some comments made by some real reviewers that feel Dillinger hasn’t really expanded much musically. That has to be the dumbest thing I’ve heard. From the brutal crescendo in the second half of “Good Neighbour”, to the explosive intro from “Crystal Mornings”, to the piano/synth driven “Widower”, to the pop-friendly “Parasitic Twins”, and then back to crazy headbang-able goodness on “Chinese Whispers” - this is not a rehash of previous Dillinger material.

Really though, when has Dillinger ever sounded like previous-Dillinger? They exploded on the scene with Calculating Infinity, which was pure jazz/metal-genre-crossover-wankery, then proceeded to release Miss Machine 5 years later, which contained blatant pop songs like “Unretrofied” with works of musical voodoo like “Panasonic Youth”. 3 years later, Ire Works is released; again with radio friendly ditties like “Black Bubblegum” and “Milk Lizard” sharing the same track list as scorching metal magic like “Party Smasher”. Clearly, this is a band that doesn’t give a shit what their fans or critics have to say about their style or direction.

Anyway, I digress. Option Paralysis is another genre-defying masterpiece delivered by a band who makes their ridiculous blend of jazz, metal, punk and pop look so easy a child with no limbs, eyes or ears could do it. Sadly, exploding onto the scene and setting the stage with Farewell, Mona Lisa is going to scare most people away. That’s fine, they can listen to their Lady GaGa and continue to tell all their friends how their musical tastes span “kinda just like anything really”.

Ben Weinman continues to outdo himself when it comes to guitar work on Dillinger albums, this album is definitely no exception. The new drummer Billy Rymer is some kind of acoustic DEMON who looked like 17 when I saw him playing with Dillinger live the February of last year. Honestly, I can’t help but wonder if Billy is Chris Pennie’s evil clone that just didn’t grow as old or bald.

Of special note on this album is Greg Puciato, who I now refer to as Greg Patton. Yes, I just likened Greg Puciato to the one and only Mike Patton. You only need to listen all the way through Option Paralysis once to understand why. His range of screams is impressive yes, but it’s when he breaks into soft crooning and falsetto vocals (sometimes in the same breath like in Room Full of Eyes, that moment is my all-time fav on this album) that you truly understand how impressive his vocal skills have become.

Great album. Buy it, kgo.

Seeing these guys live at the end of May. I am preparing my mind, body and soul to get TOTALLY DESTROYED in the mosh supporting one of my all-time favourite bands. Cannot wait!