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'Miss Machine'
Dillinger Escape Plan
Seven years ago the original lineup of Dillinger Escape Plan offered up cold dishes of precisely subdivided rhythm: trying to count through the songs could confound you. Not so much angry as anti-emotional, the band members seemed antimelodic too, writing attenuated, bitten-off riffs so as to draw all their power from rhythmic patterns. ''Math metal,'' it was often called, sometimes uncharitably. But they played this complicated stuff with such ferocity that you couldn't knock them for chilliness.
''Miss Machine'' (Relapse), this New Jersey band's second full-length album, broadens its sound and even pushes it toward a larger audience, something that once seemed unthinkable in the band's old hunkered-down asceticism. Its new singer, Greg Puciato, delivers a scorched scream similar to that of his predecessor Dimitri Minakakis, but here and there he actually sings tunefully in the deep valley of a tenor voice. There's no doubt that Mike Patton, who sings gracefully when he wants to, has made his mark on the band.
In ''Highway Robbery'' the band rips through broken fields of rhythm, then surges into a potentially hit-making chorus. In ''We Are the Storm'' the band members go spacey and slow; in ''Crutch Field Tongs'' they indulge an interest in experimental sound and texture.
Metal is such an inherently conservative form that groups tend to build a music declaring its dimensions immediately, so its listeners will know which subgenre to file them under. ''Miss Machine'' establishes this band in death metal; in the old ''math metal'' idea; in punk; in the gnarled, morose rock sound of Nine Inch Nails. Then it makes an inspired right turn and keeps you guessing. Dillinger Escape Plan will perform at the Knitting Factory in TriBeCa on Aug. 16 and 17.