So I’m about to take a page out of Sam LaGuardia’s book and talk about a musical artist I’m completely obsessed with right now.
The Dismemberment Plan (D-Plan, or The Plan) started in D.C. in 1993, taking their moniker from a random line in Groundhog Day. The members were Travis Morrison (Vocals, Guitar), Jason Caddell (Guitar), Eric Axelson (Bass), and Joe Easley (drums). It’s a little tricky to accurately pin down a genre for The Plan, since they borrow elements from a number of alternative and punk genres such as Post-Punk, Dance-punk, Mathcore, Indie, and Art Rock. Albums include: “!”, “The Dismemberment Plan Is Terrified”, “Emergency & I”, “Change”, and “A People’s History of the Dismemberment Plan.”
That’s it for that.
So, what’s good about The Dismemberment Plan? In a word, creativity. The D-Plan takes so many unconventional techniques and makes them work in their music, particularly in the album “Emergency & I”, which I find to be their most intriguing and varied album, and ideally constructed, but that discussion can come later. First, the elements that make The Dismemberment Plan so interesting.
1) Time Signatures. It’s difficult to find a group that can so seamlessly integrate spicy little time signatures like alternating 4/4-7/8, 5/4, or 7/4, or randomly slice beats out of individual measures.
2) Something I always always look for when investigating a new band is Lyrics. Good music is, I think, almost always secondary to insightful, interesting lyrics, and needs to support and not lead the text. D-Plan has got this goin’ on. Morrison writes with a very keen insight into the modern social setting, but also a sarcastic wit that sneaks into songs like “Do The Standing Still.” He writes conversationally, but rhythmically, and at the same time manages to capture moments of high poetic beauty. It’s difficult to put a finger on.
3) Versatility. They borrow from so many styles, again, most prevalently on “Emergency & I”. I admire any band that can swing from sparse, low, dark textures like “The Jitters,” fly straight into the frenzied and noisy Brit-punk-esque “I Love A Magician,” and then incorporate a minimalist Dance-punk number directly after (”You Are Invited”). And the fact that they know to include enough hooking, memorable 4/4 songs sprinkled throughout to keep the album accessible.
4) Ridiculously interesting melodic choices. The refrain part of “The Jitters” is a mess of unpredictable intervals and dissonant guitar strums, and they make a habit of changing keys suddenly in the middle of songs or altering scale degrees at will.
5) A balance is struck between discord and harmony. Nothing is more annoying than a band that ONLY screams at you and pounds their guitars, but at the same time, there is a part of the human psyche that can only be accessed through a little good ol’ screamin’ and slashin’. Luckily all this is done tastefully, effectively, and briefly enough that noise-haters won’t be banging their heads against a wall.
So, that’s my summary of the D-Plan as it comes off the top of my head. Sorry for the length and all the musical jargon (see: “screamin’” and “slashin’”), but I think they deserve the analysis. Plus this is a pared down version of what I had written.