As part of our "Tour Tales" feature, the female-fronted rockers documented their time on the road as their geared up towards the release of 'Beauty&Grace'.
Check out our stream of Jacksonville, Florida pop punk band We Still Dream's take on
The Get Up Kids' 'Valentine'.
With Queens of the Stone Age in the middle of a UK arena tour, we’ve decided to highlight
five of the bands best tracks for this edition of "Fives".
We've got the new EP from Yorkshire riff merchants NOSE right here! Take a listen to 'Sick
Continuing our Reuben theme from last week’s Fives and in celebration of frontman Jamie Lenman’s new double solo album, we take a look at two of the albums for "Versus". Its
‘Racecar Is Racecar Backwards' against 'In Nothing We Trust'.
Calgary's debut EP 'Fight Fire With Fire' is a bright, warming collection of indie pop songs.
With comparisons to Hellogoodbye and John Mayer, the four tracks showcase a band with pop sensibilities and plenty of potential to breakthrough. We caught up with the band to find out more.
Formed from the ashes of Chicago punk bands 88 Fingers Louie and Baxter in 1999, Transistor Revolt was born. After releasing a demo in 2000, the band signed to Fat Wreck Chords and changed their name to Rise Against. They would release two albums under the label before signing to a major label i.e. DreamWork Records. Eventually, DreamWorks would be absorbed into Geffen Records. So far the melodic hardcore punk have released four full lengths, with a new album in the making. The punk band have grown from strength to strength, along with several line up changes, morphing into one of the world’s most adored punk bands, politically active in all manner of social conventions. The current line up includes vocalist Tim McIlrath, bassist Joe Principe, guitarist Zach Blair and drummer Brandon Barnes.
This week’s Already Heard versus sees us tackle an important question; what is Rise Against's best album? Having wowed us at the recent Warped Tour show in London and the band heading off to record their seventh album, we thought it would only be appropriate to answer this. Sticking by 'Siren Song of the Counter Culture' is Jay Sullivan, whilst Aaron Lohan defends 'Revolutions per Minute'.
What do you consider Rise Against’s best album and why? Let us know on our Facebook andTwitter pages.
Siren Song of the Counter Culture (by Jay Sullivan)
Remember when you were 14? Apart from having terrible clothes and hair, unless you’re an absolute liar or have rockstar parents, your music taste probably hadn’t evolved to the superior heights that you like to think it has now. Somewhere along the way, you discovered a handful of ‘gateway’ albums, the ones that led you away from the mainstream and into a back alley filled with a brave new world of undiscovered bands and music. For me, Rise Against were one of those bands and ‘Siren Song of Counter Culture’ was one of those albums and for that, I owe them a fair bit.
Back in the early part of this century, when we were starting to see the back of nu-metal and emo was starting to rear its head, something exciting was going on here in Blighty. The BritRock scene was at the forefront of the underground, and at its crux were bands like Biffy Clyro, Hell Is For Heroes, Million Dead, Hundred Reasons and Reuben. Reuben released just three albums (and a compilation), but they are remembered fondly amongst those who ever caught their scintillating live show. A unique mix of melodic hooks and bludgeoning heaviness, they are much-missed.
Continuing our Reuben theme from last week’s Fives, in celebration of frontman Jamie Lenman’s new double solo album, out now on Xtra Mile Recordings, we thought it’d be a good idea to follow it up with an edition of “Versus” on what is Reuben's best album. Ollie Connors hails their culturally iconic debut full length ‘Racecar Is Racecar Backwards’ (despite it’s longevity) as their best, whilst Aaron Lohan stands by the trio’s musically ambitious third full length ‘In Nothing We Trust’.
Racecar Is Racecar Backwards (by Ollie Connors)
Coming from someone who grew up in small-town Surrey, it’s shit growing up in small-town Surrey. Borne out of the frustrations of having nothing else to do in Camberley, the band that started life as Angel thankfully changed their name to Reuben. With word spreading like wildfire off the back of their ‘Pilot’ EP, Reuben signed to Xtra Mile Records and released their debut record ‘Racecar Is Racecar Backwards’, an album that fired them to the very crux of the exciting “BritRock” scene, alongside bands like Biffy Clyro, Hell Is For Heroes, Hundred Reasons and Million Dead. My first exposure to Reuben came with watching the 'Stuck In My Throat' video on Scuzz - one listen and I was hooked. A band that mixed a keen ear for melody and a knack for writing a catchy riff with bludgeoning heaviness, they instantly became an object of personal obsession in the formative years of musical discovery. Despite subsequently releasing two excellent albums and a compilation, it’s the cocksure debut I keep coming back to - the sound of a young band firing on all cylinders, and adored because of, rather than in spite of, its imperfections and nuances.
If a debate arose concerning the best first track of a debut, 'No-One Wins The War' would lay more claim than most. A drum fill and a scream by vocalist Jamie Lenman opens the record, and blaring guitars scream into life, and from there on in the song is an exhilarating adrenaline rush, acting as the perfect curtain-raiser. The record is barely 30 seconds old before Lenman, in typically sarcastic style, delivers the line “Hell Is For Heroes, they’ve got another single out, my contemporaries, a Top 40 smash no doubt” - a sign of the kind of status Reuben were striving for from the get-go. It’s fitting that this is succeeded by perhaps the most instant of Reuben’s singles from this album, the aforementioned 'Stuck In My Throat'. It begins with a blood-curdling scream from Lenman, and a growling, lurching riff takes hold, laying over Guy Davis’ powerhouse drumming. Despite its malevolent beginnings, the song unexpectedly breaks into a arms-aloft singalong, perfectly representing the two sides of Reuben within one song.
Formed in Boston, Massachusetts in 1986, featuring Black Francis on vocals/guitar, Kim Deal on bass/vocals, Joey Santiago on guitar and David Lomering on drums, alternative rock band the Pixies, helped influence and shape the guitar rock landscape for the next twenty five years. Alongside the likes of Sonic Youth and Dinosaur Jr., the band certainly laid the ground work for underground punk influenced indie and alternative bands. Their loud chorus and soft verse dynamic paved the way for a lot of big names including Nirvana, Biffy Clyro, PJ Harvey, Radiohead and Brand New.
The band achieved moderate commercial success in their home country, but were significantly more successful in the UK and mainland Europe. After releasing four studio albums and several EPs, tensions between members led the band to split in 1993 before reuniting in 2004. Eventually in 2013, Deal left the band, but this eventually led the remaining members to release their first new material in since 2004, under their new EP, ‘EP1’. Rumours for a new full length next year are still in motion.
Having recently returned to the UK with their new line-up and EP, Already Heard's Aaron Lohan and Antony Lusmore thought it be a good time to highlight two of the bands best albums. First off Aaron tells us why 'Surfer Rosa' is a "timeless, rock ‘n’ roll classic" whilst Antony defends the bands 'Doolittle' LP and explains why it has everything you could ask for in an alt-rock record.
Surfer Rosa (by Aaron Lohan)
Whilst my favourite and the magnum opus Pixies full length is held by ‘Doolittle’, the band’s second full length, I will write about the band’s first. ‘Surfer Rosa’ is without question the band’s most influential; it is a record that stands toe to toe with its sucessor. It was the first record of the bands that I heard and certainly one of the most life-changing. I was turned to the Pixies through recommendation by my aunty who is a huge fan especially since I was a Nirvana fan (Pixies were a huge inspiration for the Seattle trio). Now that I’ve given you a brief insight on how it affected me, I will now explain to you as I type and listen to the record on vinyl (it sounds terrific on this format by the way), why this LP is worth a damn.
Let’s begin with the production by the magnificent Steve Albini. The former Big Black and current Shellac frontman did a fine job of capturing the dynamics and atmosphere of the band. In fact, it was this record that led to working with Nirvana, Jawbreaker, The Jesus Lizard, and PJ Harvey. The drums hit the senses perfectly, whilst the guitars sound crisp and the bass is slick sounding.
New Jersey emo stalwarts Saves The Day started life in 1994. After a name change their 1998 Record 'Can't Slow Down' and 1999’s sophomore effort 'Through Being Cool' sent ripples through their native music scene, out into the wider american indie scenes. Label interest from Vagrant brought Saves The Day into their fold and released their first major label record, 'Stay What You Are' to much praise and attention from music tv. through tumultuous band lineup changes and a co-release by Dreamworks and Vagrant, their fourth album 'In Reverie' was released and then seemingly abandoned by the record labels in 2003. a trilogy of albums: 'Sound The Alarm' in 2007, 'Under the Boards' in 2008 and 2011’s ‘Daybreak’ followed, with the latest being heralded as a return to form for the band.
After numerous lineup changes, life changes and plenty of side projects along the way the band return this week with a self titled album and fairly settled lineup. To celebrate, we decided to look back and argue the case for the best Saves The Day release.
This week’s ‘Versus’ sees a guest writer enter the ring; Jessi Frick of Father/Daughter Records is writing for 'Through Being Cool' in a battle against ‘Stay What You Are’ by our very own Heather Robertson.
Through Being Cool (by Jessi Frick)
“What’s a bond if it dissolves in water?/ I took a piss that lasted longer / than you and your manipulations”
'Through Being Cool' was Saves The Day’s (and more specifically, Chris Conley’s) rite of passage. After breaking onto the pop-punk scene in 1998 with their debut ‘Can’t Slow Down’, Conley, Dave Soloway, Ted Alexander, Eben D’Amico and Bryan Newman (let it be known that this line-up IS Saves The Day. There are no substitutions) shed the Lifetime-copy scarlet letter and embraced themselves on what I’m defending as Saves The Day’s best album, 1999’s ‘Through Being Cool’.
With the first part of their UK tour kicking off this week, we thought it’d be a good time to pay tribute to Arizona’s emo kings Jimmy Eat World. Since forming twenty years ago, the quartet made up of vocalist/guitarist Jim Adkins, guitarist Tom Linton bassist Rick Burch and drummer Zach Lind have gone to write some of the most mesmerizing emo rock over the past decade and more.
Throughout their career Jimmy Eat World have proved to be thoroughly consistent. From 'Static Prevails' to ‘Futures’ to the bands latest release 'Damage', the Phoenix band have constantly produced album after album of compelling and heartfelt numbers.
For this issue of “Versus”, two members of the Already Heard try and find an answer to a question which has dominated fans for many years. Which Jimmy Eat World album is better - ‘Clarity’ or 'Bleed American'?
On one side we have Aaron Lohan’s defending the honor of the beloved 'Clarity', whilst Sean Reid explains why 'Bleed American' is the bands best work to date.
Clarity (Aaron Lohan)
When it comes to Jimmy Eat World, many will probably describe the band’s best album as being held by mainstream breakthrough ‘Bleed American’ (or the second self-titled in the U.S.). Whilst ‘Bleed American’ was the first Jimmy Eat World record I set my ears upon, it will always be second to what I and others consider being their true magnum opus. ‘Clarity’, the band’s third full length and first to feature Jim Adkin as lead vocalist (Tom Linton sings on ‘Blister’), is truly a cultural masterpiece in the modern era of alternative music.
Now if you’re an avid reader of Already Heard (and so you should be! There’s plenty of blood, sweat and tears crammed into these digital pages) you’ll probably be incredibly familiar with an original feature of ours called 'Versus'. Now, this feature has focused so far on looking at which album is the best with certain bands. However, we always knew there was versatility with such a name and so we deliver to you today a new stance on things; who is the best Reading & Leeds 2013 headliner?
Whilst discussing who would pick which act out of the three main stage headliners, one of our new writers crept up to the table and proclaimed that the best headliner was actually Crystal Fighters! So, 2 main stage arena acts and a Festival Rupublic stage headliner! Who is best? Mikey Brown gives Green Day a good seeing to, Christopher Smith will shout ‘MON THE BIFFY’ at you in the form of some well constructed paragraphs and newcomer Anthony Lusmore will be fighting for Crystal Fighters (see what I did there, using fighting for… yeah, you got it)
Green Day (by Mikey Brown)
Recently, Touché Amoré have gone on record to say that they’ll never play Warped Tour. Thomas Erak, formerly of The Fall Of Troy (R.I.P. my love) and now of Chiodos, made the point that the ‘veterans’ get treated a lot better than those starting out, saying he doesn’t find that fair. I agree. I mean, of course everyone should be treated equally. However, there’s a reason the veterans are treated miles better, get paid more and bring in a bigger crowd and it’s simply that they’re reliable. Everybody knows that they will deliver exactly what people expect and so this closes my introduction and leads nicely onto my following paragraph.
Quite a few times these pieces have been started with saying ‘this band is pretty big!’ or something along those lines, but I really can’t imagine people not having heard of Green Day. The punk band formed way back in 1987 and Billie Joe, Mike Dirnt and Tre Cool are now 11 studio albums behind them with various compilations, live works and even a broadway musical all tucked nicely under their belt.
'Dookie' is the fan favourite from those who were with Green Day way back in ‘94, whereas 'American Idiot' saw the band achieve mainstream success. However, we want to know which one is the better! What do you think? Sarah Russel digs 'Dookie' and Mikey Brown favours the conceptual nature of 'American Idiot' Read on for all the details.
Dookie (by Sarah Russel)
Although I haven’t been a fan of the past two Green Day albums, it’s fair to say that each of their previous records have all had their significant impact on me. They were the first real rock band I had gotten into and after saving up and buying their records, my love for music really began. I spent practically every day as a teenager listening to Green Day, and 'Dookie'was in particular an album I felt a real connection to.
'Dookie' really is the epitome of adolescence; it just about captures what almost every teenager goes through: frustration, boredom, growing up and love; and for that, it will always be an album full of nostalgia.
With news recently emerging of Long Island, New York hardcore punk band Crime In Stereo beginning work on a new album, we thought it’d be a good time to have the quintet featured on "Versus."
Formed in 2002, the band released a couple of EPs in their early years before unleashing their debut full-length ('Explosives and the Will to Use Them') in 2004. 'Explosives and the Will…' was a thriving, stripped down hardcore record with melodic moments throughout. 2006’s 'The Troubled Stateside' saw the bands progressive melodic hardcore taken to the next level with structured songwriting and poignant observations.
Its follow up, '…Is Dead' saw the band expand their appeal with catchier tracks, complicated arrangements, and exploring new musical territory. The bands latest and final record before announcing a hiatus, 2010’s 'I Was Trying to Describe You to Someone' built upon the foundations made in its predecessor, adding depth and variation to the bands hardcore punk sound. Later on in 2010, they announced a hiatus which lasted until October 2012 with the announcement that the band would be reforming with immediate plans to record new material. Last month the band announced plans to record a new album for a 2014 release.
Now we’ve given you that brief history lesson, two members of the Already Heard have picked their favourite Crime In Stereo album for this installment of "Versus." First of all, Rosie Kerr explains why the band are one of the most underrated bands in the scene and why '…Is Dead' an absolutely essential album. Whilst Ryan Clayton tells us why the bands last record, 'I Was Trying To Describe You To Someone,' is the bands most interesting and unique record.
…Is Dead (by Rosie Kerr)
For those who do not know, I’m telling you now that Crime In Stereo may be one of the most underrated artists “our” music scene has seen. I know that’s a bold statement, but I feel time after time that their efforts were unappreciated. Now, with the news of the band’s “reunion,” I can only hope that people begin to pay attention. And on that note, please first avert your ears to one of my all time favourite records '…Is Dead.'
Versus: Brand New - ‘Deja Entendu’ vs ‘Your Favourite Weapon’ vs ‘Daisy’ vs ‘The Devil And God Are Raging Inside Me’
Earlier this month marked the tenth anniversary of Brand New's sophomore album, 'Deja Entendu' and with the Long Island, New York band set to return to the UK next month for the Reading and Leeds Festival*, we thought it’d be a great time to look back on the bands discography.
Since their 2001 debut ‘Your Favourite Weapon’ all the way to 2009’s 'Daisy,' the quintet have grown in style, sound and stature. Starting out as an emerging pop punk band, twelve years on Brand New are seen as a highly influential band whose sound has evolved to an experimental/alternative rock.
With such an progressive back catalog, for this edition of "Versus," four members of the Already Heard team have taken on the difficult task of standing up for all four of Brand New's full-lengths.
Site Founder and Senior Editor Sean Reid defends 'Deja Entendu' whilst Heather Robertson explains why the bands debut ('Your Favourite Weapon') is their best, Aaron Lohan states why 'Daisy' is on par with its predecessors and Ryan Clayton stands up 'The Devil And God Are Raging Inside Me.'
Read on as each member of the Already Heard team state their cases.
*Since this article has been published, Brand New have cancelled their appearance at Reading and Leeds Festivals.
'Deja Entendu' (by Sean Reid)
Where do I start with one of the greatest albums of our time? Sure thats a bold statement but not only is 'Deja Entendu' Brand New's best record, its one of the best records in recent history. Its impact and influential has been substantial and its legacy continues to grow along with its cult-like status year-by-year.
Whilst its predecessor ('Your Favorite Weapon') was rooted in teenage-angst, pop punk, 'Deja' planted the seed for the band Brand New have since become; an abstract, experimental indie rock band. This record took that teenage-angst and was moulded into a record with lyrical yearning, flowing diversity and musical texture. It’s a combination which is rare and hard to execute but from the echoing moments of 'Tautou' to Jesse Lacey’s self-depreciating 'Okay I Believe You, but My Tommy Gun Don't' to the wallowing 'Me vs. Maradona vs. Elvis' to the departing 'Play Crack The Sky,' the quartet grab hold of you on a journey of lyrically glorious and genre-defining, post-Millennium emo rock.
Masks are for life, not just for Halloween. And for Slipknot masks are a huge part of their image as the octet (that’s 8 members!) have taken the world by storm since emerging from their Iowa home with their 1999 Self-Titled album.
Since then they’ve gone on slay everything in their path with their chaotic, unique brand of metal. Incorporating elements of death metal, thrash, and even dance styles such as breakbeats, the band have created and honed a unique sound that has been explored and developed through their four albums; more so in their later work as corporate intervention didn’t restrict any creativity.
This weekend Slipknot return to Download Festival, and if pass appearances are anything to go by, they will probably steal the show once again.
But which album is their best?! Well that’s what we’re here to find out as always with our Versus feature. Our European starlet James Berclaz-Lewis believes that 'Vol. 3: The Subliminal Verses' really pushed the boundaries of what Slipknot are. Whereas heavy lovin’ Aaron Wilson thinks the band’s last studio album to date, ‘All Hope Is Gone’ is where they really perfected who they are.
Vol. 3: The Subliminal Verses (by James ‘Bearclaw’ Lewis)
There is little point denying the searing impact Slipknot’s ‘Iowa’ left in the alternative metal scene back in 2001, having previously prepared the ground with their accessible debut album, the nu-metal-ish ‘Slipknot’. The latter introduced the core of what the band is about: a combination of relentless, incredibly dense, rhythms and Corey Taylor’s cathartic lyrical explosions. One their sophomore effort, meanwhile, truly cemented the wall-of-sound aesthetic that defined their middle era, as the band’s sound moved further and further away from any recognizable traditions of metal. As strong as ‘Iowa’ was, the sonic consistency on display came dangerously close from simply being a general over-similarity among the tracklisting. A fault the nine-strong posse were quick to correct on third effort ‘Vol. 3: The Subliminal Verses’.
20 years is a long time. 20 whole years. 20 doesn’t seem like a big number, but when you consider how long a year is it’s like, “woahhhhh!” So, the realisation that Anti Flag have been a band for 20 of these years is pretty damn crazy. Think about the amount that has happened in the last 20 years! The London Olympics, the deaths of celebrities such as Michael Jackson and even, unfortunately, war.
And that leads us very well onto Anti Flag, a punk band from America who are well known for their left wing views, focusing on topics such as class struggle, human rights and anti-war activism. The band also publicly support Greenpeace, Amnesty International and Occupy Together.
Now then, their MUSIC. They’ve released 10 whole albums since 1996, so it may be a bit of a struggle to decide where to start, right? Wrong! Two of our very own writers have defended their favourite albums, those being 'Underground Network' (courtesy of Tom Knott) and 'The Terror State' (thanks to Aaron Lohan).
Underground Network (by Tom Knott)
‘Underground Network’ was Anti-Flag’s first release on Fat Wreck Chords and is generally considered the one that gave the band their first breakout from an exclusively underground to a much wider audience. The reasons for this are, as is always the case, multiple. Obviously, signing to Fat Wreck didn’t do their appeal any harm but I would argue that above all else, it was the sheer quality of the release that took them that extra step.
It’s a cliché start to any written piece featuring Bring Me The Horizon, but they do seem to be either loved or hated. There’s no denying the facts though; they are massive. Latest release 'Sempiternal' is their fourth full length and has seen them join a major label whilst over in Belgium they’ve played a very reputable spot on major punk festival Groezrock before returning to the UK for a short but successful run of shows.
There will always be a select number who will dislike what they do, but there’s a part of me that thinks it’s those critics that keep BMTH pushing further than they ever have previously. At Already Heard we even had a discussion if the band were big enough or had been around long enough for them to be included in ‘Versus’ and we quickly decided that they do.
It’s without further ado then that I present to you our two contenders, Jenny Gagas and Callum McPhee. Our American sweetheart Jenny is fighting for what it is about 'There Is A Hell…' that really hits home for her, whilst Callum will be defending the band’s newest release 'Sempiternal' in his first "Versus" piece. Who wins? You decide. Let us know on our Facebook and Twitter pages.
‘There is a Hell, Believe Me I’ve Seen It. There is a Heaven, Let’s Keep it a Secret’ (by Jenny Gagas)
I used to be scared of music that had screaming. I shouldn’t say scared… more like horrified. It was all noise, all bark and no bite. But somehow, I think through friends playing hardcore in the background of university study sessions; I began to get a taste for it and soon I couldn’t get enough. Eventually I couldn’t listen to a song without screaming and worked my way up to Bring Me The Horizon. Someone gave me their copy of ‘There is a Hell, Believe Me I’ve Seen It. There is a Heaven, Let’s Keep it a Secret’ and that album is what, surprisingly, got me through all those long nights of reading Shakespeare and Chaucer.
Now this one here’s a bit special. Rather than two of our own writers pitting their wits and writing their rights to their favourite albums of certain bands, we’ve got two guest writers! Intrigued? You should be.
It’s been a while since we’ve let some outsiders dive straight into ‘Versus’, but a mighty fine job they’ve done. Normally we’d give a brief bio of said band, but one of these lovely gentleman has nailed that on the head as well!
So, without further hesitation, this week’s "Versus" is all about Hot Snakes and our two guest writers are vocalist Dave Verellen of Narrows, delivering his colloquial accounts of the 90’s and 'Automatic Midnight' whilst in the other corner is guitarist Ryan Patterson of Coliseum giving you the absolute factual lowdown on Hot Snakes and 'Suicide Invoice' right until this very day. Read on.
'Automatic Midnight' (by Dave Verellen of Narrows)
The 90’s are over and kids all over the oceanic rim of the United States are freaking out. Who can they turn to? Who will provide them with the angular rock and rhythmic thrust they desire?
It’s not enough to listen to your favorites time and time again. For most of us we are looking out onto an endless ocean we perceive to be flat and barren and sailing to the edge. The famed and seemingly indestructible Drive Like Jehu dead and gone. Then like a motherfucking implanted alien life form the Goddamn motherfucking Hot Snakes rocket from it’s quivering corpse. Teeth gnashed and fucking guts all over its face… or whatever.
April 1st has always been a tricky one, and for a much loved band such as Modern Life Is War to announce their comeback could only be some sick joke twisted in the depths of hell and unleashed on the one day when no news could be taken seriously. Wait, they were serious? Well isn’t that something! So yeah, Modern Life Is War are back.
Within the underground hardcore scene the band were gaining much critical aclaim in their initial short run as a band, first releasing their self titled EP and their last album in 2007 'Midnight In America'. Let’s not forget the upcoming new album later this year either!
However, there’s two more albums that two of our writers think are Modern Life Is War's best albums. Do you back Ryan Clayton with ‘My Love. My Way.’ or ‘Witness’ which has Rosie Kerr defending its honour? As always, let us know on our Facebook and Twitter pages.
'My Love. My Way.' (by Ryan Clayton)
When I think about hardcore, very few bands seem to do much for me any more. One band that still manage to excite me in the way they did when i first heard them, is Modern Life Is War. Whilst each record tends to build on the previous attempts strengths, I find myself going back to the bands debut ‘My Love, My Way’ when I need a fix of Modern Life Is War.
With the amount of member rotation similar to that of a college sex party, The Dillinger Escape Plan have managed to achieve the same level of consistency throughout each of their releases since the band first formed, with Ben Weinman being the only constant and thus pimp at said sex party.
With 4 full lengths under their belt, the band have progressed from the mathcore/jazz fusion days of 'Calculating Infinity' before Greg Puciato took a reign on the vocals as 'Miss Machine' found vocally singable choruses and actual song structures that you could repeat back to yourself. A dip into the electronic production in ‘Ire Works’ led the band into 2010s 'Option Paralysis' which was a culmination of all of the bands efforts thus far. The band’s next offering 'One Of Us Is The Killer' is set to be released by Sumerian Records on the 14th May and will be performed live with new guitarist James Love after Jeff Tuttle’s departure! Will those boys ever learn? (Maybe the secret to success is to constantly change members?) Anyway, new song 'Prancer' can be heard here, but make sure you’ve got a spare pair of socks at the ready.
Both Ollie Connors and Mikey Brown are big fans of the band and argue respectively that 'Miss Machine' and 'Option Paraysis' are the band’s best work. What do you think? Let us know on our Facebook and Twitter pages.
Miss Machine (by Ollie Connors)
How do you even begin to describe the music of The Dillinger Escape Plan? The NJ quintet encompass such a miasma of styles, from the flat-track brutality of mathcore to the enigmatic world of jazz fusion, this band can go from accumulating intensity, speed and momentum like X-Men’s Juggernaut (bitch!) to blindsiding us with a progressive and experimental side many have emulated but never bettered. 1999 saw the release of 'Calculating Infinity', a dazzling display of technicality, which provided the framework for what would become their magnum opus, 2004’s 'Miss Machine'. In the time span between these full-length releases, the band lost original vocalist Dmitri Minakakis, record 'Irony Is A Dead Scene' with icon Mike Patton, and finally land on permanent (to this day) vocalist Greg Puciato. It was the addition of Puciato that allowed the band to push on and create an album like this; his vocal talents are utterly sublime throughout this record, and the way in which he can switch between a guttural, wounded buffalo roar, shrill screams and, something completely unexpected of this band to this point, a fantastic singing voice.