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Live Reviews : The Dillinger Escape Plan, Glassjaw & Dir En Grey @ Hi-FI Bar, Melbourne 27/02/2014

By on February 28, 2014

With Soundwave Festival only a day away for Melbourne, three of the most eccentric and iconic acts were gathered to deliver audiences a much more personal live delivery. In what seemed to be a clashing of genres, having Dir En Grey and Glassjaw supporting headliners, The Dillinger Escape Plan, seemed slightly odd on paper, but worked perfectly in reality. The venue was full and the energy high.

The Dillinger Escape Plan w/ Dir En Grey and Glassjaw

Japanese band Dir En Grey had the honour of warming up the Hi-Fi, with the elusive Japanese act pulling their fans tight to the barrier in what are their first ever Australian shows. Defying easy classification, the five piece bust to the stage energetically and dressed very fashionably. Breaking in with ‘Rasetsukoku’, the band demonstrates over the next 45 minutes their diverse sound and their blending of genres. Their sound is some sort of mixed form of metal. There are very much dark undertones to some of the songs here tonight, but it all feels accessible, even poppy at times. Then there’s the electronica feel to some other songs in tonight’s set, as provided by a laptop stooped individual hiding under drummer Shinya’s kit. Other songs feel progressive, others feel slow. There’s a death metal vibe to some, then there a jazzy vibe with vocalist Kyo demonstrating an utterly incredible vocal range. From sung highs, to deep growling lows and everywhere in between, Dir En Grey’s eight song set is a very welcome first opportunity for their fans to see this band in a live setting. Although it at times all felt a bit gimmicky, it worked. At times the sound mixing felt muddy, and it truthfully felt a little odd watching them perform so stylishly, but they delivered everything they could to their fans who so desperately await their return soon. Arigato.

By the time Glassjaw are setting up to take to the stage (lengthily), the Dir En Grey fans appear to have moved out of the way in what is an odd observation for the night. The variety in tonight’s lineup almost appears to change setting as each group takes to the floor. Fans queue and wait for their turn to get close to the band they came to see. This works equally and fairly though, with everyone paying respect and courtesy to each band despite genre clashes. As long everyone sees who they came for, I don’t think anyone could walk away unhappy.

After a lengthy changeover that felt like forever, and left some punters a bit restless, New York post-hardcore legends Glassjaw finally hit the stage. Led by the enigmatic Daryl Palumbo, the band brings their energy to the Hi-Fi with the post-hardcore heroes playing a healthy 10 song set. Collecting material from their two studio albums and various EP’s, Palumbo prances around the stage, his voice in full flourish ranging from seriously high to desperate squeals. Guitarist, Justin Beck, and bassist, Manuel Carrero, literally dance around the stage with their instruments, playing their songs with a visual passion. The Long Island four-piece have been around for a long time, and that definitely shines through in their live setting. Fans scream along to every word, by this point the Hi-Fi is swelling, with particularly great reactions during cuts like ‘You Think You’re (John Fucking Lenon)’ and ‘Siberian Kiss’.

However, the band tonight is marred by a disappointing sound mix, making a majority of the set sounding muddied. Every song bleeds into the next and feels very much the same because of this setback. Beck’s guitar tone feels lost in a wall of muffled bass, with most of the songs losing meaning unless you knew the songs in the first place. It’s a little saddening for a band who was given so long to set up their equipment and who have garnered such a reputation for being a visceral live group. Despite the sound issues, the sheer energy of each member of Glassjaw collectively and individually demonstrates the way they can commandeer and continue to delight fans through their mysterious output and uncertain future.

As the lights turned down after a relatively quick changeover, the tension in the room increased as punters pack the Hi-Fi Bar, waiting for tonight’s headliners. Murmurs could be heard of their previous chaotic live experiences, joints were lit up, and audience members shifted to any possible viewing angle to be found, camera in hand to capture The Dillinger Escape Plan in all of their unruly glory. Prancing into ‘Prancer’ from 2013’s ‘One of Us Is the Killer’, The Dillinger Escape Plan burst onto the stage, instantaneously providing the crazed atmosphere made infamous through their live show. The New Jersey five-piece are fast, visceral, chaotic, vocalist, Greg Puciato, stage dives and ends up in the crowd no fewer than three times during their first song alone. The house lights of the Hi-Fi are put into full action, with strobe effects and lighting changes complementing the bands ferocity. Guitarist and founding member, Ben Weinman, proves to be as enigmatic in his performance as Puciato, constantly running from each side of the stage, jumping on amplifiers, the drum kit, and unstable equipment cases, throwing his guitar in the air, and successfully managing to never miss a note. Bassist, Liam Wilson, and rhythm guitarist, James Love, are a little more reserved; however both stomp around in unison with their music, throw their instruments into the air and keep the energy consistently rolling.

The group busts into ‘Farewell, Mona Lisa’ from 2010’s ‘Operation Paralysis’, perfectly rolling into the bouncingly energetic ‘Milk Lizard’. The older ‘Panasonic Youth’ receives much audience delight with the band keeping up their energy profusely. Puciato carries his vocal duties throughout the entire set, ranging from unfathomable primitive screams through ‘Room Full of Eyes’, to the laid back and sung mixes of ‘Gold Teeth on a Bum’ and ‘One of Us Is the Killer’. His voice ranges between songs perfectly, and despite hanging off of the stage, jumping into the audience, running into other members, or throwing microphone stands into their flag like banner, Puciato manages to sing every word.

New songs ‘Hero of the Soviet Union’ and ‘Nothing’s Funny’ demonstrate that the group are capable of creating just as insanely fast, intense and heavy material, almost in a much more serious manner due to the finally solidified lineup. Even more impressive is their ability to recreate that seamlessly in a live setting. ‘When I Lost My Bet’ feels like a jazz drumming frenzy of unparalleled intensity, with the band leaving on a high note for a quick well deserved breather. Gracing the stage once more for a two song encore, older fans were treated to a cover of Aphex Twin’s ‘Come to Daddy’, a track the group had originally recorded with Faith No More and Mr Bungle mastermind Mike Patton. Drummer, Billy Rymer, never once relents on the drumkit, perfectly replicating the breakcore drumming as Puciato screams “I want your soul, I will eat your soul” repeatedly in an intensely sinister transition into the fan favourite ‘43% Burnt’. With The Dillinger Escape Plan having already proven why they are such a phenomenal live act, any ounce of energy any of their members held was completely brought out for their final cut. Weinman was held above the heads and shoulders of the audience, perfectly balanced and playing guitar as though he was on stable ground. Puciato shared the microphone with the entire audience, jumping around the stage, exploding out every last breath and scream he could muster. Eventually swinging from the lighting rack of the Hi-Fi, Weinman and Puciato help to pull apart and disfigure the drumkit in a passionate finale that signalled the end of tonight’s show.

Though tonight’s setlist predominantly features cuts from their last two studio efforts, the constant and acclaimed output of The Dillinger Escape Plan, as well as their reputation as one of the most violent and chaotic live acts around, no one could walk away unsatisfied. The brilliant thing about a show by The Dillinger Escape Plan is that exactly, it is a show. They are there to entertain, to keep your attention focussed throughout their entire set, to dazzle you with their on stage acrobatics. There is also a sense of urgency and uncertainty in their set, leaving the audience to question what they’ll do next, will they hurt themselves, and will they hurt us? There’s always something to look at, and another member to focus on in their own personal frenzy. Despite their setting, they surpass any barrier, making the audience feel as connected to the band as possible. You’re not just watching a band get up there away from you, you feel a part of the chaos, and it’s impossible not to love every moment of it. This is entertainment on a completely hectic and insane level, but it is music of the highest caliber. Those who came out to see The Dillinger Escape Plan tonight were not disappointed, and those that didn’t definitely have some stories to tell about what they saw.