me está flipando este disco. Joder como suenan las guitarras!!!!!!!!!!!! menuda producción... bufff.

está rulando x el irc ya. Compradlo.

ARTiST: Dillinger Escape Plan
ALBUM: Ire Works
BiTRATE: 216kbps avg
QUALiTY: EAC Secure Mode / LAME 3.97 Final / -V2 --vbr-new / 44.100Khz
LABEL: Relapse
GENRE: Hardcore
SiZE: 62.82 megs
PLAYTiME: 0h 38min 26sec total
RiP DATE: 2007-11-02
STORE DATE: 2007-11-05

Track List:
--------
01. Fix Your Face 2:41
02. Lurch 2:03
03. Black Bubblegum 4:04
04. Sick On Sunday 2:10
05. When Acting As A Particle 1:23
06. Nong Eye Gong 1:16
07. When Acting As A Wave 1:33
08. 82588 1:56
09. 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

Release Notes:
--------
Miss Machine weeded out the doubters, the self-appointed purists head-shaking at
their heroesÂ’ chosen direction: melody and madness in the purest of unions,
aggressive and accessible at once. New doors open whenever old ones slam shut,
and while The Dillinger Escape PlanÂ’s progress was easily traceable from album
one to two, via an acclaimed Mike Patton collaboration and a few choice line-up
changes, it never stuck to straight and narrows; this is a band unafraid of
upsetting long-term admirers with new techniques and tangents, and Ire Works,
their third long-player, is likely to further distance them from disaffected
followers left puzzled by the mainstream-courting qualities of Miss Machine.

Of course, this is all relative: Miss Machine was resolutely not a pop record,
something you could throw on in the car while driving mum to the supermarket on
a Thursday night; sheÂ’d be clawing at the windows, desperate for escape. It was
brittle and sharp, dangerous to sink into despite the glossed-up and ambitiously
immediate compositions that sat amongst the expected explosions of rapid-fire
drum beats and overwhelming bombast, tied and gagged by intricate technicalities
that left the senses spinning. Old-school acolytes may not have taken to the
album, but it opened DillingerÂ’s music up to a whole new, and highly
impressionable, fan base. A certain Reading performance did the bandÂ’s
reputation no harm, or rather their profile, but without a quality record such
theatrics would have been sideshow attractions to a main course less than
satisfying. The 10/10 score awarded by DiS was absolutely earned.

Ire Works might be a better album in comparison – their greatest release to
date, the band will inevitably and rightly claim – but in the context of marked
progression it lacks the impact Miss Machine had. The brutality remains in
tracks like ‘Fix Your Face’, an alarmingly intense from the outset opener that
serves as a timely reminder that this is a band schooled to perfection in
destructive precision – it takes nearly a whole minute for the song’s pace to
drop to a level where a breath can be taken and the body returns to an upright
position. But there’s no real evolution in the band’s more manic moments –
‘82588’, save for a few brief flourishes of extra-extra bonkers guitar work,
could have easily sat on the Miss Machine tracklisting.

Where Ire Works does highlight its makersÂ’ fondness for exploring areas
previously unexplored by them, and their fans, is in its most melodic passages.
Track three, ‘Black Bubblegum’, could be the work of a particularly agitated
Fall Out Boy from a distance, albeit if Pete and company were hardcore
aficionados of the Faith No More catalogue. FNM are obviously an act Dillinger
have a lot of time for – the Patton-featuring EP, Irony Is A Dead Scene, was no
accidental meeting of likeminded souls – and here they echo the ‘90s rockers’
most wonderfully haphazard arrangements in a song that packs both sing-along
verses and crazed, squealing riffing into its four-minute frame. A similar
offering comes in the shape of ‘Milk Lizard’, which sounds for all the world
like a Jesus Lizard number ‘til beefcake vocalist Greg Puciato out-loons David
Yow with considerable ease. ItÂ’s a tumultuous pop-rocker, full of wandering
guitar lines and even a weirdly lost-amongst-the-noise piano motif. If Dillinger
ever wanted a pair of bona-fide awesome MTV (2?) singles, here they have them.

Another area where Ire Works showcases DillingerÂ’s fondness for furthering
themselves is the incorporation of noticeable electronics; more than ever
before, organic instrumentation born of plectrum on string or stick on skin is
relegated to a secondary position in the mix behind slamming bass drops and
cricket-click twitch-beats. See: ‘When Acting As A Wave’, which would be the
greatest instrumental 65daysofstatic had ever written if itÂ’d been born in a
Sheffield rehearsal room, and the glitch-orama that is the schizoid ‘Sick On
SundayÂ’. These tracks act as bridges between meatier offerings, but ultimately
leave more of an impression than the ‘traditional’ arrangements serves up on Ire
Works.

An oddly muted effort closes the album out – ‘Mouth of Ghosts’ is another
FNM-echoing piece thatÂ’s almost entirely devoid of DillingerÂ’s trademark skilful
tomfoolery; it’s probably the most ‘normal’-sounding song on this collection,
which makes for a quite astounding progression when one considers DillingerÂ’s
earliest material and its thrillingly alien feel. The lingering sensation: one
of satisfaction, but not amazement. Ire Works is a brilliantly realised album,
executed perfectly by musicians on top of their chosen game, but it doesnÂ’t
really raise the bar from where Miss Machine left it.

Which was pretty high anyway, so there can be no suggestion that Ire Works is
poor in any conceivable way: the confrontational compositions remain absorbingly
chaotic, and the infectious melodies have grown in strength. Plus, the strange
and eerie electronic aspects of the album give it an unexpected edge on any
tech-metal peers. ItÂ’s a frighteningly powerful album that will be adored by
open-minded newcomers and Miss Machine converts alike. But will the deserters
return?

Not a chance.