Customer Reviews

Irony Is a Dead Scene

5 star:		(50)
4 star:		(18)
3 star:		(4)
2 star:		(4)
1 star:		(2)

 

 

Imagine Mike Patton in all his celestial glory fronting one of the most finely tuned precision thrassh out chaos-core (huh? whatever? I won't pretend to know the nominative of the sub-genre DEP are subsumed into: I could give two frux and a plastic spoon. They thrash) bands out there... Getting warmer?

I don't know where to begin. This is one of the most jaw droppingly abrasive, soul-shattering gorgeous, brooding, lung-slittingly ominous, skullbanging, moribundfreaking, pulse-accelerating, beyond hardcore, mind-incinerating, neck twitching, foot-tapping, eyebrow raising, involuntary air guitar improvising, leaving the souls of all who listen twisting in its wake sprinting, eye gouging, vein bursting, dynamic shredding, leaving on for hours at a time demanding, relentlessly deafening... INSANITY!!!!!!!!!!! THE BEST YOU WILL EVER HAVE!!!!! as Patton himself succinctly puts it.

From start to finish this thing just blows up in your face. Explodes on impact like an RPG-7 (and costs about as much too!) on an APC, turing the listener's brains into beef tartar. The final track is perhaps the most consistently twisted thing I have heard this month. Track 4: A straight-forward cover of Aphex Twin's 'Come to Daddy,' utterly thrashed out. Track 3 is my fave. It's the longest and most dynamic with a beautiful slow/melodic part towards the end. Track 1 is just nuts. Track 2 is more atmospheric, at least in the beginning, pre-the-massive-sanguine-crunch-fest.

Just get it. If you've come this far you've done so for a reason. If you're a fan of either of these: be it Patton (this is so much better than most of Tomahawk, i hate to say it but this is what i expected Tomahawk to sound like and was never quite as happy with the results...) or DEP (Dmitri's vox were the ONE thing that put me off about this group, patton, well- he's mike patton. Who the hell are you and what have you done?

You know you really want this.

What do you do when your vocalist leaves after your band releases a classic EP ("Under The Running Board") and full-length album ("Calculating Infinity") that merely revolutionize the way legions of fans look at heavy metal? Well, if you're the Dillinger Escape Plan, you apparently bring in one of the most versatile and accomplished frontmen of the last quarter-century to do a one-off EP. That, my friends, is the (concise) story behind the Dillinger Escape Plan and Mike Patton's "Irony Is A Dead Scene," which despite its short running time is easily one of the most brilliant heavy-music releases of our young millenium.

While Patton's and DEP's respective discographies vary wildly in both size and scope, on "Irony Is A Dead Scene" the guys sound as if they've been performing together for years. The schizophrenic, genre-bending weirdness that characterized Patton's most prominent bands, Faith No More and Mr. Bungle, is still present, but it's mixed with DEP's trademark insanity to produce a sound more like Faith No More or Bungle on steroids. With the demented virtuosos of DEP raging around him, Patton sounds even more unhinged than usual. He does deliver some piercing screams reminiscent of the band's former vocalist Dmitri, but he also adds frenetic vocal riffing, doomy singing and death-metalesque howls for one of the most eclectic performances in recent history.

The three DEP/Patton originals, "Hollywood Squares," "Pig Latin," and "When Good Dogs Do Bad Things," all vacillate between the raging jazzy metal abundant on "Calculating Infinity" and the surreally bizarre interludes one would expect from a Patton project. Fortunately, the album sounds less like a forced mishmash of styles than an inspired meeting of minds that refuse to be limited by genre conventions or preconceived notions. Patton and DEP, with their wild, genre-bending creativity, merge signature elements of their respective backgrounds to create a whole new kind of insanity.

The EP is capped off by a cover of Aphex Twin's "Come To Daddy," and while I haven't heard the original (although I have every intention of doing just that very soon), I CAN say with virtual certainty that DEP and Patton have succeeded in making it their own. This cover doesn't possess the sustained intensity offered by most DEP originals, but it's probably the most foreboding song in the band's all-too-small catalog; Patton's (apparently) electronically enhanced wail of "I want your SOUL!" should be enough to make just about anybody shudder.

"Irony Is A Dead Scene" may only clock in at about 20 minutes, but in that brief space it may well accomplish nothing less than a total realignment of your perceptions regarding just what heavy music (or any music for that matter) can and can't be. For the open-minded fan, this EP promises reams of enjoyment. So dig in, and hope for a new DEP full-length soon, regardless of who's on the mic. It's just too bad this EP appears to be the extent of the Patton-DEP collaboration.

dillinger escape plan, quite possibly one of the most experimental and innovative musicians to be found on this place we call earth.
i don't think it's possible for anyone to find a vocalist with the same talent and uniqueness as one, mike patton. it seems as though he wants to explore every aspect of music known to man (tomahawk, dillinger, mr. bungle, faith no more, amongst many more) and then after he's done doing that, re-invent the concept and complete idea of music as human beings know it.
dillinger, fueled by raging (but jazz based) percussive section and chaotic bass work, is solid and stable on an extreme level. there's a very strong vertabrae to the music, even if the guitars and vocals were taken out, they'd still be interesting to listen to...
then the guitars...
a word for those guys is hard to come up with.
i don't understand how these guys do what they do, because i've tried it and found it's damn near impossible to write a line like like that and then write ANOTHER line on top of it to layer it even more. but, they still accomplish it. i'll bet anyone anything that in high school, these guys were math geniuses because it VERY clearly and evidently shows on their records. EVERYTHING is calculatated and planned out, showing that the possibilities go on into infinity.
usually if i listen to something with programming, it generically sounds 'industrial' to me, so i don't like it. this stuff fits in so well and sounds naturally. A+ to them.
Overall, yes... this record is different from say, Under the Running Board which had songs like the Mullet Burden... but I mean, come on, Hollywood Squares? Patton is genius. Even if he does make funny noises with his lips (and occasionally fart noises, etc, with mr. bungle) he still has one of the most piercing, and individual voices in music today.
I think that Mr. Bungle fans would especially appreciate this... Even though I do like the old DEP stuff, and I don't know what it would sound like with Patton performing with that in a studio or live, this must have been more of a fun record for them to do... My only question is, if they play live, is this stuff performed with the new vocalist? the cool thing is, before this, dillinger's vocals were a series of shrieks, screams... not that there's anything wrong with that, but patton added singing... dillinger's been around for quite some time, and to hear them with singing was a real treat/shock for me...
If you haven't bought this record, buy it. It's easily worth the money, even though it's an ep. ANY Dillinger is worth the money.
Also, if you want a visually appealing and planned out show, go watch these guys live. your perspective of visual props and actions will never ever be the same. what can i say, i'm in love.
if you like this, listen to mr. bungle!!!

Do you remember when you were in second grade, and it was art time? There were 30 pairs of scissors, and most of them had loose bolts, so they would barely cut anything. But there was one pair, rusted and dangerous, that cut surprisingly well. Mike Patton and DEP are two blades on an ominous pair of gruesome-looking scissors.

If you ever wondered why the man who brought us "Angel Dust" and Mr. Bungle went off and made Adult Themes for Voice (a record of grunts and noises), here is the explanation. He was discovering a talent- a style of skitzophrenic vocal percussion, that adds texture to music the way vomit and blood add character to any sofa. It arrests your attention, makes you a little uncomfortable- that something so foreign could still be so human.

This style complements DEP's award-winning math-metal in a way I never thought possible. The ephemeral nature of this pairing is almost as perplexing as the task of listening to it. In the seventeen minutes that comprise the first three tracks, you will experience a cinematically emotive confusion. It is beautiful in the way of a great David Lynch film, and like a film, when the production is over, the actors and directors go their separate ways.

Like a great mystery, it leaves you asking questions - what just happened?

What did he say? What did I miss?

Was the impressive-but-sloppy cover of "Come to Daddy" an impetus or an afterthought?

Is the "Irony Scene" Dead, or is a "Dead Scene" something Ironic?

And... will Patton and DEP ever come together again?

Come on and get a clue. Mike Patton belongs with these guys. When Good Dogs Do Bad Things is one of the coolest songs I've ever heard. Hello? Does anyone listen to me? No of course not.

I'm probably not the best person to be reviewing this album as I'm the bigget Dillinger fan I know, but here's my take on the album:

Here it is, concrete, undeniable proof, that DEP are the smartest, most technically proficient, and creative band in the world of hardcore. This album shows without a doubt that the Dillinger Escape Plan are capable of much more than simply melting your brain with their heaviness and technical ability. The material they've created for this e.p. with guest vocalist Mike Patton is pure art. Anyone who has heard any of Mike Patton's previous work such as Fantomas' The Directors Cut knows that Patton is a creative vocal force to be reckoned with and has a very unique style. Instead of clashing, the DEP clearly worked to compliment and support (I can't emphasize that enough) Pattons style and came up with something that was a slight departure for both parties while maintaining the artisistic integrity of everyone involved. What we have here is the brilliant metallic hardcore of the DEP blended beautifully with the ideas and talents of Mr. Patton. Fans of Fantomas' The Director's Cut and fans of DEP will NOT be disappointed.

The only downside is that it IS in fact just a 20 mintue e.p (but hey, when was the last time you heard a 6 minute track by DEP???) so you're soon left staring at your cd player craving more. But on a more positive note, there is a cd-ROM section of the disc with really cool footage of Patton laying down some of his tracks. Simply put, it's a must-have.

I love Patton. I like Dillinger.

I LOVE THIS CD.

If you feel strongly about either Dillinger or Patton, you must own this. It is some of the very best work of both. I wish to God Patton had stayed on as lead singer of Dillinger Escape Plan. Tomahawk, Fantomas, both suck compared to this CD. If only it were more than 4 songs...

WOW. A collaboration made in heaven. Mike Patton, ex-Faith No More. And DEP. With one of the most talented math-metal bands EVER, and one of the most talented singers EVER, this should be one of the greatest math-metal records ever made. And even though I haven't really dipped much into that sub-genre, it is a close second in my book to Meshuggah's unbelievable 'Destroy Erase Improve'. This is the biggest head[rush] you could ever wish for, short of Napalm Death or Soilent Green, but combined with a sense of cohesion and melody, that only Patton could bring at times...you'll see why. Just listen to it. Listen to the whirlwind, and precise instrumentation. Often, like Meshuggah, all involved are playing in different time signatures. This makes for an incredible experience, no two ways about it. And with Patton's unmistakable weird yet hugely varied (and always successful) vocal styles bring the disc to levels of intensity rarely witnessed anywhere. Nearly a 9, but the at times brutal assault can make for difficult/unaccessible listening. Though Carcass fans should find this accessible and still awesome. If you ARE a Carcass fan, though, dig in. Hehe. And even dance fans can apply...with an awesome cover of Aphex Twin slapped on at the end, this raises the EP to 'essential status', at least for those in the know. Well worth any amount of money.

Tracklisting:

01. Hollywood Squares. Starting with a shriek from Patton - 'GAME OVER!!!....YOU WIN!!', this hate song to Hollywood soon rips into a bouncing and shredding tune, including constantly changing time signatures, and moods that bounce from moody to crunching at the flick of a switch, this opening track sets the scene in grand style, with the whole thing descending into freeform around 1:30 to startling effect. Then - shock - there's some singing, though it's under constant threat from the rippling drum line. A crescendo leads into a cry of 'Hollywood Squares, going nowhere!', with a semi-rapping part from Mike. The song leads out on an appropriate RAWK breakdown (drums: dododododoododooommmm......dodododoododomm!) Eeep.

02. Pig Latin. A more laid back offering, with opening synth and vocal lines which seems extraordinarily like Patton's old band. The crunch isn't as intense as the opener, with a mid-tempo 4/4 beat maintained for much of the song. A thrash-esque part leads into a haunting cry of 'Freedom, freedom'...another FNM moment. This leads back into a repeat of the beginning, and that seems to be the end of the most accessible song here.

03. When Good Dogs Do Bad Things. The other grindcore-esque tune here, clocking in at a near unbearable 6 minutes, with a fantastically weird grindcore moment with Patton meaninglessly babbling, that makes for compulsive listening, and gives a repeat performance that doesn't go amiss the sonic swash. Drifting off into an uncharacteristic ambience, and switching to a stealthy bounce for a while. Then a scream of 'run away!' leads into a tangible guitar melody, and repeat. Then the keyboards fade out.................................................strange noises........AND A CRUNCH and SCREAM of 'I'M THE BEST YOU'LL EVER HAVE!' The mixture of genre-defying song structure and paced 4/4 mid-tempo swaying produces the best song here.

04. Come To Daddy. Little to say. A dance song done rock style is a dangerous thing, but since Come To Daddy is clearly already among the most intense dance tunes ever penned, DEP feel primed to take it to the next level. It follows the original structure of the drum 'n' bass Aphex Twin classic to a T...even the remarkable coda, replete with off-kilter fusion drumming. And NME say 'this makes the original look like Charlotte Church'. That's debatable, as this song lacks a lot of the pounding bass of the original and freeform playing that DEP so excel in, but when the song's best parts come (the bridge, the numerous odd noise breakdowns, and final part), they do wipe the original completely clean. And Patton's attempt at the terrifying shriek heard in the aforementioned bridge puts 'Epic' to one side forever. And, as a piece of Interesting Trivia, because the band slightly speed things up, they add 15 seconds onto the end to make the track time (4:21) the same as the original. How Interesting! (sarcasm off). But, a remarkable ending.

The only downside? We shall most likely never hear these geniuses (is that the plural of genius? vote now!) make another studio effort again. But this is worth the #5 ($7) it's selling for........so expand your tastes and track this down.

Psychotic bliss. Surgical precision. Fast and heavy don't even come close to describing the sheer rhythmic violence that seeps out of every second of this 18 minute masterpiece. Don't be surprised if you hear this album, then suddenly find yourself disenchanted with any other album by bands that try so hard to be... well, hard. Irony is a Dead Scene is a testament to how these sonic scientists can toss your mind in a blender with such ease and finesse. Both DEP and Patton would be doing themselves a huge disfavor by not collaborating more in the future, because this baby is gonna sell just as fast as it plays.

As a fan of both Mike Patton and Dillinger, I can honestly say they fit each other perfectly. I have never heard such a magnificent hardcore masterpiece as this. In-freaking-credible. This album is so brutal and intense it kicks you out of your chair and beats you to a living pulp.
I cannot rave any higher about this CD. It rules. If you don't have it, you should. If you do, you know.