Lincoln Live Music

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The Dillinger Escape Plan, Every Time I Die, Zao, Misery Signals, Bad Acid Trip

October 12, 2004 at Sokol Underground

by Joe Younglove

            The Dillinger Escape Plan makes most bands seem boring.  Of the four opening acts, Bad Acid Trip came the closest to Dillinger appeal with their brand of "where-the-hell-am-I?" rock.  Every Time I Die creates an exciting atmosphere, but they seem trapped by hardcore conventions. 

Bad Acid Trip’s reputation was looking damn good after I’d seen their music video for “Beef Moo,” featuring things you would experience in an actual bad acid trip, including animal carcasses and people neglecting simple hygiene.  I also knew that Serj Tankian from System of a Down signed them to his record label, Serjical Strike.  The 7-string bass added a considerable amount of fascination. 

Bad Acid Trip’s performance, while certainly unusual, was underwhelming.  The vocalist struck a barrage of dramatic poses, diminishing focus on the music.  He certainly had a flair for showmanship, which may be better suited for the circus.  They did play some interesting sequences of time signature variations and splattering noise.  I commend them on striving for a style of their own, mostly identifiable through dildo props, including a double-sided green unit. 

Years ago, Mr. Bungle mastered what Bad Acid Trip wants to do.  However, with time they could do unique things if they develop the skills evident in their music video’s mélange of surprise. 

Misery Signals’ set began with a tape recording of someone that has it out for the group because they threw a brick through a window somewhere.  It wasn’t very cool actually, but the opening riffs were, carrying a sonic force equivalent to a current bursting through floodgates.  The vocalist stalked around the stage with a hood, like a mini grim reaper.  It didn’t take long before I realized the hood wasn’t enough for credibility.  The vocals never expanded upon the standard growl at the top of the lungs method.  Misery Signals can do the aggressive hardcore breakdowns and speed metal with the best of them, but they lacked personality, and I don’t mean stage banter witticisms. 

Zao was another band that played.  They did not uphold the expectations I had built through all the word-of-mouth about their “legendary” live performances.  Supposedly a “Christian” band, Zao defies preconceived notions of what that means.  For instance, most Christian bands probably don’t tour with a band featuring a dildo player.  Zao may be trying to shed their Christian label with their new album, titled “The Funeral of God,” which seems to imply God’s death, or perhaps God throwing a funeral party.  What’s most likely is that Zao wants to be God now.  The Dillinger Escape Plan is far closer to God as far as I’m concerned.  I have to talk about Every Time I Die first before I get to the aforementioned holy agents. 

Every Time I Die is like the purified water tank at work, holding its post for your enjoyment, providing healthy vibes.  But water can only provide so much intrigue. 

The Dillinger Escape Plan is like bringing an exotic stripper into work.  One that climbs walls and impresses not only with sexuality, but also with body movements’ of stealth and precision.  Simply put, The Dillinger Escape Plan is a carnal explosion of energy. 

Before finally seeing their live performance, I expected to be torn to shreds if I was anywhere close to the stage.  But I think those in attendance sensed we were in the presence of technically gifted musicians, worthy of attention and offering an extremely satisfying sensory experience. 

Vocalist Greg Puciato, was all at once intimidating, exciting, passionate, and friendly.  It looked like he was shot out of a cannon into the crowd as the music commenced.  He let plenty of people sing along into the mic and carry him over the mass of rabid fans.  It was astonishing to see the lead guitarist, Ben Weinman, bounce off the crowd and everything else without missing a note.  He can play guitar better crowd surfing than most people can sitting on their ass. 

The band’s otherworldly music display is an absolute marvel.  The Locust comes close to Dillinger’s impact, but there is an invisible barrier between them and the audience.  You can actually sing along with Dillinger’s lyrics, too.  Puciato is an amazing front man, in that he actually sings, which happens to be beautiful.  He can also scream in a spine-rattling pitch. 

Drummer Chris Pennie plays like the beats are dictating his body movement; as if he’s rigged to a computerized pulley system within the drum kit apparatus.  He wore headphones, which probably supplied a feed of binary code, channeling mathematical equations through space into his synapses, triggering spasmodic reactions manifested in beat sequences. 

The way Puciato would pull a fan’s hair back and sing with them represents the primal beauty of The Dillinger Escape Plan; not so much violent as it is merely a human reaction to the mind’s brewing madness, channeled through dynamic music.