Review by Rachel Jablonski
Last week a friend, previously unexposed to DC/Baltimore band Dog Fashion Disco, and I sat at work, each in a separate building, and simultaneously listened to the entertaining sounds of the band’s 2001 release Anarchists of Good Taste. “1… 2… 3… 3.5… GO!” the countdown began on MSN. Concurrently, we pressed play and the madness began.
“This is crazy and hard to categorize! Each song is very unique, the lyrics are evil, and it’s just plain crazy,” my musically inclined friend solidly exclaimed over IM. Well Mike, it only gets crazier. The band’s latest album, Adultery, is pure madness with a screenplay on top. Mood flowing like the score to a movie, the concept of the record follows quite the script as explained by Dog Fashion Disco front man Todd Smith:
“Adultery is about a seemingly normal guy in his mid- 30's, burdened with a wife, kids and a safe corporate job. He caves in to his own demons, and begins flirting with drugs, prostitutes and eventually gives in to his dark desires and sadistic and murderous lifestyle. This record is this guy’s life spiraling out of control into a demented and dark place. There are so many twists and turns on this record it’s more like listening to a movie at times, but the song structure still remains.”
“The Uninvited Guest” sets the tone of the album, foreshadowing the dark and chilling story ahead, with haunting keys resounding. Solid whispers accompany and character develops, Who got into your soul? Who’s that voice in your head? Who put that look in your eyes? The uninvited guest.
The inviting introduction is quickly swallowed as “The Sacrifice of Miss Rose Covington” begins. Fast paced, heavy, circus-like sounds, common to classic Dog Fashion Disco style, gets the blood pumping while carrying on the intense album theme. Tracks like this, as well as “Moonlight City Drive,” are somewhat reminiscent of the Anarchists of Good Taste days, sucking in interest and pouring out dark lyrics, hypnotizing rhythms, heavy riffs, and contrasting more upbeat keys and occasional horns.
Sax, flute, clarinet, and horn arrangements frequent tracks such as “Silent Film” and give off an old school black and white film feel. “Private Eye” is especially dramatic, heavy, jazzy, bluesy, and EXPLICIT. The track contains a monologue from the leading role, an insight into what he sees, what he does, and how he feels. The saxophone in the song creates a rather seductive vibe and perfectly compliments the upcoming explicit dialogue between the main character and a prostitute. The track is emotional, dark, and mystifying. Disturbingly enough, after a dramatic climax, the track closes with a sudden burst of lighthearted energy allowing the character, as well as the listener, a moment of release.
Another less burdensome part of the album is contained in “Desert Grave,” a Johnny Cash-like adventure of acoustic guitar and banjo. The lyrical content is dark, but the catchy nature and less abrasive musical background seems a moment of relief, though the dark mood remains.
Though the album is well done conceptually, not all
tracks are solid enough to be compelling standalone songs. But with concept
in mind each conveys an important piece to the puzzle.
As dramatically as the album began, it ends with “Mature Audiences
Only.” Orchestrated predominately with dark strings, the album contains
a chilling conclusion. Again the main character has muffled dialogue with
an external party. He is explaining what he has been through and summing
up the entire adventure, attempting to erase his memories. There was
blood everywhere… I’m losing my mind… I have many demons
I face every day… I was always easily influenced… curtain
closed.