i believe there's meaning
i don't fully remember where my experience with dance gavin dance expanded into what it is today, but i can say that it's shaped me in a serious manner. without reaching too far into descriptions that become long-winded or hyperbolic within the intro, their music tugs at many different aspects of who i am and who i want to be. these emotions come at me at the album level as well as the song level. each album has a different set of musicians on it, with lots of overlap but only occasionally the same combination. past that, each song can be layered with multiple driving emotions due to it's constant shifting between genre and tone. there's a lot to feel here and i've never really talked about how it makes me feel.
3 of these people aren't in the band anymore
through this entry i hope to solidify in myself what draws me to their music and assess my own emotions. my secondary goal is equally as important - to provide you as a reader an insight to why you should listen and why it's beneficial to you. with roots in post-hardcore music, dance gavin dance isn't for everyone, and i don't think i'll meet this goal with the numbers i'd like but the first goal is met because i tried.
just to lay out some foundation, dance gavin dance is a progressive post-hardcore band that's been around since 2005 and have released 6 albums and one EP. i'll be going through each of these projects and throwing down some words on each one. they all have such distinct "personalities" and are top tier albums. i'm not here to describe their musical impact on society or give wikipedia level knowledge, nor am i going to be dishing out college level analysis. just a stan talking about his favorite band. hyperbole may be included and your mileage may vary.
whatever i say is royal ocean (2006)
this little project took the longest time to grow on me. the one word i always use when describing this EP to anyone that actually wants to listen to me is raw. everything bursts out at you with all of what they had at the time and nothing less. after the calmness of the intro, we as listeners are met with a contrasting unsettling dark riff of the robot with human hair pt. 1. (as an aside, i have to point out this fantastic sample flip in the song heels & dresses by x.o. ft. ty dolla $ign on one of the game's mixtapes) this song sets the project up incredibly well with it's building intro culminating into an intense contrast of vocals from jonny craig and jon mess. quite frankly, i never really knew a lot of the lyrics for the longest time because jon's screams are less intelligible than what i was used to on later albums and his lyrics are just as cryptic as ever. all that matters to me is that you can really tell that he's putting his all in his performance and he really shines on this song. this whole project features a strong dichotomy of heaviness and melody; this push and pull theme very apparent in the robot vs. heroin battle of vietnam. every heavy moment accentuates so much aggression in me and each melodic passage acts as a release. i often listen to this album when i'm at my most tumultuous as a way of coping with my conflicting emotion. the way that the importance of cocaine breaks down near the end is so overwhelming for me, it's almost like it gets increasingly uncertain of it's own stability. it's fantastic pacing that allows the robot with human hair pt. 2 to be so uplifting from the jump, jonny comes through like a phoenix on the intro and the choruses as they appear. it's here that we experience one of my favorite dance gavin dance moments in their whole catalog: after the second chorus we get an angular yet peaceful guitar riff that is joined by some fantastic snare work. jonny serenades and vibes with them building up to an intense vocal phrase that drops into a searing breakdown when jon wants a piece of the action. the song closes in a much darker place than the beginning in a very straight-forward way, but yet for me, i can gather some solace in the darkness.
“you thought you were so strong, you pleaded to never be wrong”
i appreciate the chaos this EP brings, i appreciate the full on effort to explode in the many different ways that they do on this record, vocally and instrumentally. this is their most aggressive output, and is an amazing start to what is a beautiful exploration of the dichotomy of loud and soft, of focused and wild. if you need more of this, seek out the b-side attack of the dashing young and bold.
downtown battle mountain (2007)
with their foot in the door, dance gavin dance is poised and ready to tackle everything on their first full length album. we're met with a similarly serene intro that leads into the monolith that is and i told them i invented times new roman. capitalizing on everything that the ep was with immense focus and heightened production, we're thrown into the fray immediately with jonny soaring over jon's chaotic screams. it's apparent that everything is in line and they're comfortable thrashing about. lyrically, the two vocalists can often be extremely distant in their topics but on it's safe to say you dig the backseat they play off each other so very well, jon backing up jonny as he delivers one of his best performances. the instrumental follows suit to accentuate the strong sexual tensions between the lead man and woman in the story. if you haven't been paying attention to how locked in the drums are strawberry andre will let you know; double bass is tight and placed in just the right spots. this song highlights the bands ability to mix in pop-like choruses for the first time as well, the repetition of i fear i can't believe it's you pleasingly gets embedded in my mind. matt mingus opens up lemon meringue tie with one of my favorite drum intros of all time. i could type thousands of words on why this song is brilliant but i'll just sum it up with one statement: everyone plays their role perfectly.
“and i don’t know why, i don’t know why i fight for you this way, fight for you this way”
downtown battle mountain is incredibly forward flowing, rarely ever a dull moment; it's whatever i say is royal ocean on steroids. it's one of the most important albums in the post-hardcore scene, hands down. no one else seamlessly blends r&b style vocals with intense passages and extravagant guitar work. many bands owe their sounds to this album, mine included. songs like antlion boast the band's ability to soar high, the backwards pumpkin song rips in to you low, open your eyes and look north pulls every bit of feeling from your heart. this diversity even lends to their calmest track 12 hours, 630 miles, the album's acoustic closer, featuring jonny craig solely on vocals. from this point on, we are forced to realize that dance gavin dance is an artistic force ready for greatness.
the thing i love the most about the band is that in their future endeavors, they don't truly repeat this sound even if it was highly successful.
enter kurt travis: dance gavin dance aka deathstar (2008)
birth of a strawberry swisher
how can you re-create such a success with a new set of musicians? alex english will show you. jon mess begins to keep the familiarity but then we're joined by the smooth vocals of kurt travis. he resonates with a colder precision that downtown battle mountain never experienced. kurt likes to harmonize and the 'ohs' on the chorus show perfectly what he's about to bring to this album. conversely, this album is where jon steps up and displays some of his most emotionally wild lyrics to keep people who knew downtown battle mountain interested, especially when given a forefront on buffalo. the introduction to kurt is complete by the time the chorus on me and zoloft get along just fine drops and we can see that he's actually making himself perfectly clear that his is a good addition to the dance gavin dance sound.
a lot of new ground is reached on this album, hot water and wool being one of the first forays into a calmer, more experimental sound. the intro begins with some delayed guitar and sets the scene for a really ethereal experience. these sounds are the antithesis to their previous album and shows how truly accomplished the band is. the reprise of the song picks up to create some of the soaring dynamic once achieved in the past but with a lower and more succinct trajectory. immediately after, the whole formula is broken down to create their most pop friendly effort to date. uneasy hearts weigh the most is a love song like none other in the DGD catalog and it enlists immaculate vocalist nic newsham of gatsbys american dream / the money pit for a duet of sultry magic. we're also graced with the power of guitarist of zachary garren for the second verse's solo, smashing through uncharted territory and leaving behind one of the most accessible tunes in their catalog. my band frequently covers this song due to how groovy the song is; it's an easy way into the scene for anyone. this song also is notable because it begins the segment of the album that contains featured vocalists and the next one is a doozy. chino moreno of the deftones meshes with the band for the immensely soothing caviar. we hear incredibly spacious choruses and staccato riffing that is unmatched on any other song. it all runs on a slow boil until the closing where the breakdown grips you before it explodes into a multi-layered rapture. all three vocalists provide such a fantastic palette of tones that's easy to get lost in. the feature trifecta is completed on rock solid with matt geise of the lower definition, a very frantic dose of groove. i always get a kick out of the conversation during the bridge, it's such an interesting dynamic. when it leads into the chant, you can't help but get energized and dance around.
“do you think about your actions? do you ever wonder what the consequences are? ”
on the final stretch, we're met with more aggression and focus. on burning down the nicotine armoire, pt. 2, we experience the lighter side of the band, reprogramming mental programming shows of frenetic and melodic guitar work, skyhook very ambitious and driving. the last track, people you know, is scathing; jon mess takes full control of vocal duties and straight rips into your heart and soul. you can feel the aching in the choruses, everything just sounds so bleak and critical. the band backs him up with some very dismal riffing, yet it all sounds so clean. this contrast creates a very powerful statement. after expending all that energy, the hidden track kicks in, featuring a tweaked vocal from kurt that reprises elements from uneasy hearts weigh the most. it's a calming ending to a wild journey.
happiness (2009)
each clean vocalist of dance gavin dance currently sings on two full lengths and this is kurt's second endeavor. this album shows off his abilities to mesh with the band and not simply just be "jonny craig's replacement". this album is also special vocally due to jon mess' absence, this being the only album he's not present on. this allows for more clean vocals than ever but also will swan to flex screaming duties. tree village is a prime example of the dynamic of the two, they alternate very quickly between each other in the main verse. the vibes are lowkey and very clean cut. the riffage is much more melodic this time around, as indicated by the intro to this song and to nasa, the second track. these songs serve as the bridge between the self-titled effort and the softer efforts this album eventually capitalizes on. in addition to this, the album feels a bit more experimental with how it handles its heaviness, relying on bounce-friendly passages instead of full on mosh fests.
“i don’t need you. baby, i need you.”
this album is a party at time and at others very emotional and downtrodden. carl barker has such cool guitar work that you can't help but sway and dance to. in between the groove we're met with choruses that have such potent lyrics. it's really awesome how i can feel happy listening to songs like this when i'm happy but if i'm a little off, that feeling can get accentuated as well. the ending and final chorus of the song has such a driving vibe that fully opens up your emotions. regardless of what you're feeling, this gets dismantled and truly messed with when the title track happiness breaks in. kurt and guest vocalist tony tataje from american me present such a bleak picture of a drowning child over a dismal yet active instrumental. this track is so powerful that i often find myself unable to listen to this at my lowest points; the irony of its name is astonishing. self-trepanation takes the vulnerable moment from the previous track and weirds it all the way out. the intro is one of the most off-putting things in their entire catalog but it makes sense in this context.
strawberry swisher pt. 1 begins the trifecta that i like to associate with some of the most accessible dance gavin dance songs in their discography, but this doesn't mean that they're lacking in any way. employing nothing but clean vocals, we experience some of the most loving and groovy tracks they have to offer. don't tell dave is the peak of this idea and is the funkiest post-hardcore number you'll ever hear. it's one of my all time favorites and boasts a lot of positive energy with its fantastic vocal harmonies. strawberry swisher pt. 2 is an amalgamation of the last two tracks, bringing in the crooning of the first part on the verses and the high energy of don't tell dave on the choruses. powder to the people shows a return to efforts similar to the self-titled with a more traditional dance gavin dance structure, but flips it on its head with the inclusion of the first rap verse of the band's career. i absolutely adore how they're able to mesh this in without it sounding like a gimmick. at 10 tracks and 37 minutes, this album is the shortest full length effort but it packs a ridiculous punch.
the return of jonny craig: downtown battle mountain II (2011)
i could only imagine the amount of hype for this album prior to release. i had not yet made the jump to post-hardcore music sadly, but for jonny craig to re-join and for the album to be a "sequel" to what many consider their best would have been lit. i think they really out did themselves on this one.
“fool, your word means shit. my eyes, they wonder”
first dgd lineup that i knew
those lines might be my favorite intro to any album ever. spooks is one of the most important dance gavin dance songs in their discography in my opinion. we have everything: soaring jonny, sporadic and crazy jon lyricism, crazy riffs from both will and eric, impressive drumming from matt and a hella chill rap verse. this diversity and skill is what helped me fall in love with the band in the first place as this was the first album i was introduced to. pounce bounce is basically a burst of energy, it has a very driving groove in the choruses with crazy mess lyrics in the verses. the robot with human hair pt. 2 1/2 keeps the party going with one of the more lowkey heavy numbers. the chorus is absolutely phenomenal here, will has a crazy riff going over some full on double bass drumming. jonny croons over top and i'm filled with positive swaying energy even though there's a lot of work being put in here. will also drops a guitar solo; these are infrequent but always sound great because they never really are put above the mix like most solos tend to feel. the end of the song relaxes the reigns and jonny is at one of his most haunting points vocally. this mood is instantly broken on thug city with the album name call out. this track is as light-hearted in tone as the title implies; the chorus is absolutely catchy. continuing the hype need money blasts in with one of the more frantic openings on the album. this opening verse leads into a section adorned with horns that creates an interesting bounce and texture to the music. it's a very jazzy take on post-hardcore. with this foray into experimentation, we go further down the rabbit hole on elder goose, exploring how much r&b smoothness can be captured with the band's values. it's really awesome how jon mess' screams don't even necessarily take you too far out of this mode even though they are harsh, it's a real testament to his style. another well balanced DGD song comes in the form of heat seeking ghost of sex, pretty much featuring all the intensity and elements of spooks one more time; it's really easy to tell why this was a main single for the album.
blue dream begins the last half of the album. it's one of the most out of place songs in their catalog, but one of their best and definitely one of my favorites. this song goes all in on the band's r&b and funk influences. mess still makes an appearance with the post-choruses bringing the band to their most aggressive points. the second one drops off into this awesome funky breakdown; it's one of my favorite elements in any of their songs and inspires me and my band with the music that we make. privilously poncheezied is one of the coolest songs ever: the opening riff, rap verse, jon verse, choruses, the dance beat verse. everything is top notch. swan soup is one of the more straight-forward post-hardcore songs on the album but that doesn't mean that it's typical. there's a solid breakdown of the chugging variety, crazy riffs all over and tremolo picking on the choruses. closing out the album is purple reign and it's quite a finisher. the guys prove that there's still time to throw in some weird elements with some interesting riffs and beats. as the song ends, it fades, giving you peace of mind after this second half onslaught of energy.
on the hot topic editions of the album (a sign of the times), there are two bonus tracks people you knew and perfect. we're given a solo shot of each vocalist: the former being a bit of a reprisal from the self-titled's people you know and perfect being an expansion of downtown battle mountain's closing track. each song is fantastic in its own right.
the modern era with tilian pearson: acceptance speech (2013)
tilian pearson was the guitarist/vocalist for tides of man before joining the dgd family on their highly anticipated release acceptance speech. there was a lot of uncertainty about whether dgd would continue as a band, but the reception to this project pretty much solidified their place in the scene again. the guys come out swinging on jesus h. macy a very solid track that features tilian showcasing what he's best at, throwing down a clean pop friendly chorus. jon mess has also stepped his game up this time around, his screams are piercing and just as clear as the cleans in his own way. keeping up with their series tracks, the robot with human hair pt. 4 comes through with another haunting installment. the song is equal parts mosh-filled and made to bounce. tilian soars high and floats throughout the whole song. on the title track acceptance speech we hear dgd begin to take some time to touch on some of the experimental nature that the self-titled album had. very driving and ethereal throughout, plus we get a little will swan rap at the end. carve is probably one of the heaviest songs they've got in their catalog and its energy is never lost, even on the choruses. doom & gloom continues the dismal energy and does exactly what the title says.
“fall in line with me, it’s all that i see when i believe”
bringing it back up a notch with one of their most infectious tracks, the next installment in the strawberry series, strawberry swisher pt. 3 is this album's most accessible track. it's got such a happy vibe and falls perfectly in line with the previous two songs. tilian takes more of a hold on the listener with honey revenge, a very forward track lyrically, detailing the protagonist's affections towards someone they long for. instrumentally, the vibe is very light-hearted and precise. this feeling is flipped on its head with demo team, one of their most abrasive tracks. it seems like it's a parody of much of the scene at the time, featuring some extremely sharp cuts instrumentally and some vocal effects on the cleans; it's got a very metalcore feel.
the last three tracks on the album feature the band at its most progressive, each track clocking in at very long times. death of the robot with human hair is a very epic ending to this story, many different feelings and modes of attack create for an unfolding scene unlike any other in their discography. will contributes more vocals here at the track's peak, a very forceful and strong call out passage. the back end of the track falls apart and is distorted to reveal a cool dance-like segment. the cuddler comes in after the rubble to re-build the energy. jon delivers intense verses while tilian calms them down. we're also introduced to a little bit of jon mess scream-cleans here as well, which are fantastic. closing out the journey is turn off the lights, i'm watching back to the future pt. 2, a song full of life. sultry choruses mix in seamlessly with driving verses overlaid with soaring holding notes. there's a lot of call and response between the two vocalists right before tilian takes a hold of your heart on the bridge all alone. will uses this moment to bring in the only solo on the album and it's a beautiful one. don't be mistaken though, the final passage rips you out of that with a massive breakdown, leaving you spent in the best way.
written within the same album cycle, the band also release the b-side pussy vultures a very happy sounding track that lyrically is pretty dismal. it fits in with the last piece of the album well as it's another one of those long epics.
instant gratification (2015)
at this point in their career, the band has finally solidified enough to have all the same band members on this latest effort. with this cohesion, they expand on everything that they did with acceptance speech and reach new highs. we own the night starts out very powerful, showcasing how tilian has came into his own with the band. the floating vocals feel simple and effortless and the pop-like ending is phenomenal. stroke god, millionaire capitalizes on the bands progressive nature with a fantastic low end bass riff and a wild guitar lick. i'd like to point out that their return to the previous producer, kris crummett allows this and every other song to shine so much more this time around. something new also benefits from this balancing of the bass and vocals in the mix. jon pushes this track so hard while tilian levels it out every time he joins in. on the run is the fourth in the first set of songs that i feel have a very strong pop ideal. this song has a very bouncy verse, jon's flow is very interesting. we also have will joining in with some clean harmonizing vocals on the chorus, creating an awesome contrast to tilian's highs. it all breaks down on the bridge, in one of the calmest sections in the catalog. the build up afterwards is incredibly anthemic, where each vocalist comes in creating an immense layering of phrases.
“i loved you in the summer, the leaves were bound to change”
the middle section ramps up significantly with the heavy number, shark dad. here we also have the album's first feature, guitarist martin bianchini who plays with secret band, the DGD side project. the main riff has a ridiculously abstract tone and creates a lot of dissonance. awkward enlists previous guitarist and current strawberry girls lead zac garren for a mix of the old and new. the front half of the song feels right at home with some of the songs from the self-titled tuned more light-hearted. lyrically, the song contains a lot of uncertainty and is a great example of how the band loves to mix these feelings. the latter half expands into a breakdown unlike any other on the album before reprising the intro stylings on the final chorus. the cuddler brings in some of the punky side of the band on the verses and yet another pop friendly chorus.
legend brings the album into what i believe is the third section to the album with a track spearheaded by tilian, a very straightforward and accessible track. it has the intricacy and intensity the band is known for with a more typical layout. on eagle vs. crows, the band ventures off into a very groovy atmosphere. will swan delivers a ridiculous rap verse and all three vocalists here alternate in a nu-metal like way on the little climax afterwards. the riffage is light and bouncy and it's very easy to dance to. death of a strawberry brings the series to a close in the best way; the heaviest spots of the series are present on mess' parts and the chorus even is layered over a scarce breakdown like instrumental. outside of that, the whole aura is extremely happy and positive.
the final two tracks deserve their own section, they work extremely well together and are reminiscent of the longer epics from the previous album. variation explodes instantly, tilian setting up the song with intense focus. over a building snare roll, we're treated to something that easily could've made its way onto downtown battle mountain. the last third of the song is amazing gripping as the instrumentation gets choppy. the choruses also follow this format, but in a vocal way. no steam is lost as lost enters seamlessly to bring in a new take on a similar mood. these two songs are almost dismal with how forward-driven they are. the guys don't let up at all here. it all builds up to an intense climax at the end, a fantastic closing to the album unlike any other album of theirs.
no, i believe there's nothing
there's nothing like dance gavin dance, in my eyes. they give me so much diversity in their musicality and their emotion. they're not for everyone, but they're for me. i don't really have anything more to say because this thing has drawn on for way too long. thanks for sticking through it and i hope it was at least semi-enjoyable.