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IRE WORKS

The Dillinger Escape Plan

Tech/Extreme Prog Metal


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The Dillinger Escape Plan Ire Works album cover
3.67 | 67 ratings | 4 reviews | 22% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2007

Songs / Tracks Listing

1. Fix Your Face (2:41)
2. Lurch (2:03)
3. Black Bubblegum (4:04)
4. Sick On Sunday (2:10)
5. When Acting As A Particle (1:23)
6. Nong Eye Gong (1:16)
7. When Acting As A Wave (1:33)
8. 82588 (1:56)
9. Milk Lizard (3:55)
10. Party Smasher (1:56)
11. Dead As History (5:29)
12. Horse Hunter (3:11)
13. Mouth Of Ghosts (6:49)

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Ben Weinman / guitar, keyboards
- Liam Wilson / bass
- Greg Puciato / vocals
- Gil Sharone / percussion, drums

Releases information

CD Relapse Records (2007)

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Option ParalysisOption Paralysis
Season of Mist 2010
Audio CD$3.93
$3.24 (used)
Miss MachineMiss Machine
Relapse 2004
Audio CD$7.98
$0.45 (used)
Irony Is a Dead SceneIrony Is a Dead Scene
EP
Epitaph / Ada 2002
Audio CD$3.98
$0.45 (used)
Under the Running BoardUnder the Running Board
Extra tracks
Relapse 2008
Audio CD$3.56
$2.42 (used)
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THE DILLINGER ESCAPE PLAN Ire Works ratings distribution


3.67
(67 ratings)
Essential: a masterpiece of progressive rock music(22%)
22%
Excellent addition to any prog rock music collection(40%)
40%
Good, but non-essential (22%)
22%
Collectors/fans only (12%)
12%
Poor. Only for completionists (3%)
3%

THE DILLINGER ESCAPE PLAN Ire Works reviews


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Collaborators/Experts Reviews

Review by Moatilliatta
PROG REVIEWER
5 stars The Dillinger Escape Plan is treated oh so unjustly on this website. Besides being the premier band in the "math" metalcore catagory, practically reinventing metal and hardcore upon their coming, they are one of the most experimental bands music has to offer. I'm not one who believes that music must be rated highly for it's historical importance alone, but it's something worth noting.

With Ire Works, the band gets really, really experimental. Amongst their traditional manic metal/hardcore/jazz pieces are electronic experiments, Faith No More-esque tunes, and more! From the wild beginning of Vocalist Greg Puciato explores territory touch upon in Miss Machine to a much larger extent; besides the yelling, he proves to be a capable singer, both in a grungy style and a clean one, with a great falsetto. New drummer Gil Sharone fills Chris Pennie's with poise. Ben Weinman, the last founding member left in the group, takes on all of the guitar parts, and also utilizes some keys throughout the record, which add a nice touch. And Liam Wilson's bass work continues to be top-notch.

When listening to The Dillinger Escape Plan for the first time, you may get the feeling that their work is messy and unintelligible. This is not true. A lot of time, thought, and effort was put into calculating these pieces. Everything makes sense once you give it time to digest. The riffs are often dissonant and crazy, but you'll realize that you remember them after listening to the album. The yelled vocals are even memorable. They are just as forceful and rhythmically enforced as Meshuggah's, and there's more of a variety to boot.

The album opens with two wild ones: "Fix Your Face" and "Lurch." For those not adjusted to this group, these songs may not sit well with you until you've listened through the rest and started over, but they are both gems. "Black Bubblegum" moves us into a post-grunge/Faith No More type sound that is the "Unretrofied" of this record - one of the pieces that has an easy to follow structure. "Sick on Sunday" is a fabulous track that starts of as a bizarre montage of electronics and instrumentation before turning into a seriously rocking ditty with a great melody and great attention to detail, adding some cool sound effects to accentuate the key beats. The next set of songs is kind of a series of shot pieces that oscillate between mad soundscapes and classic DEP, of course filled with some nifty patterns and riffs. Try to count along! You can't! It never gets old or predictable! "Milk Lizard" is another piece that is very song-like, with some very interesting vocal work, and again, great fine-detailing is present with the adding of horn swells into the verse, which does have a very subtle swing about it. "Party Smasher," "Dead as History" and "Horse Hunter" don't present anything new to the record, but are all just as great, if not more in some spots. And finally, the closer is an all-time high for the band. "Mouth of Ghosts," going from a lounge-jazz piano atop an ethereal ambience and smooth vocals to a simple yet expansive and very powerful closing proves to be the most expressive and awe-inspiring song the band has ever done.

The Dillinger Escape Plan continue to push the envelope, and not once do they overdo it. None of these songs sound the same, but they all somehow sound like they belong together. Way to go, guys!

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Send comments to Moatilliatta (BETA) | Report this review (#150759) | Review Permalink
Posted Wednesday, November 14, 2007

Review by The T
SPECIAL COLLABORATOR Honorary Collaborator
2 stars I have to say it from the beginning: as much as I like some extreme forms of metal (black/death) I just can't tolerate most hardcore-mathcore-metalcore music out there. I simply can't go pass the noise, the awful screaming voices and the senseless violence.

Having said that, IRE WORKS is an album that almost falls into all of those categories that I mentioned, but it's saved by some redeeming features.

On the bad side of things (for me), the record's most violent tracks are just a mess of extremely fast riffs and drumming that leave no room for any kind of subtlety and melody. I know that melody was never the goal of THE DILLINGER ESCAPE PLAN when writing this album, but even in violent music, I need something that makes up for the total absence of a tune. If I hear MESSHUGAH, the most ruthless melody-killer ever, I can be amazed at the technicality, at the truly outstanding riffs and the interaction of the guitars and the insane drums; there's nothing like that in this album. When the violence strikes, every ounce of reason is lost amidst noise, terrible, senseless noise. The band tries to get progressive or technical by performing sudden stops or unexpected scales in the middle of heavy parts, but it just sounds like a gimmick. As it is seldom repeated in the curse of the same song, those displays of musicianship don't become a part of the band's sound but just accessories, little ornaments. Compare this with BETWEEN THE BURIED AND ME and then you'll see the difference: in the latter, everything sounds like a part of the whole; in IRE WORKS, it all seems like an afterthought.

Another element I don't enjoy in this album are the vocals, but I know that's a hopeless cause as I have always had problems with hardcore vocalists. Yes, I can enjoy death metal's growling or black metal's high-pitched shrieks, when they are controlled and sound like an integral part of the music. DEP's vocalist sounds like.. an angry man shouting. That's it. It's not a style of vocals that has an effect, that tries to create a distinct atmosphere, in hardcore or metalcore, you just... try to be as noisy and repelent as you can.

Finally, on the bad side, this style of music always has the problem of structure. That's easy to understand: if songs are only made of extremely unintelligible riffs and instrument-bashing, it's quite difficult for the mind to grasp any idea of a structural map if all it detects is noise. And most of the violent songs in this album are like that.

On the good side of things, DES's members show that they can play. There are moments when their great skills shine through the pile of noise. Some, SOME of the technical afterthoughts I mentioned above actually work, and there's even a few that truly fit in. Also, when the band slows things down, when the reckless violence recedes a little bit, the band can sound like a promising outfit, with glimpses of atmosphere, restraint, self-control, and even some melody. Even though at times their calmer moments sound quite a bit awkward in the context of the whole album: take for example the song Black Bubblegum. When you listen to it and then listen to the rest of the record, it sounds like two completely different bands, one verging on alternative-rock (with touches of STP, Faith No More, even post-grunge elements), the other a noisy beast with influences from Pantera, Messhugah, and many mathcore groups.

The rating this album gets from me is a 2.5 out of 5. But as I really didn't enjoy the experience, I'll do as always and go with my feelings. I have to give it a 2 out of 5.

Recommended for metal/mathcore enthusiasts. But beware: there are better bands out there, at least from my perspective. I can enjoy some of this music from time to time, but with DILLINGER ESCAPE PLAN, I just couldn't.

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Send comments to The T (BETA) | Report this review (#168513) | Review Permalink
Posted Wednesday, April 23, 2008

Latest members reviews

4 stars This being my first Dillinger Escape Plan album, I didn't really know how to accept them, but I had enough practice with Sikth, Protest The Hero, Fall Of Troy & The Locust to know what I was up against. And yes, this is an amazing math metal album. Very crazy and frantic, but also great songw ... (read more)

Report this review (#288789) | Posted by arcane-beautiful | Thursday, July 01, 2010 | Review Permanlink

4 stars Ire Works continues where Miss Machine left off. There are enough similarities here to ensure if you liked Miss Machine, you will like Ire Works. The progressiveness of the music has definitely increased--there is much more electronic experimentation, more mellowness, and more full blown jazz. ... (read more)

Report this review (#155758) | Posted by jmcdaniel_ee | Monday, December 17, 2007 | Review Permanlink

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