Search - Dredg :: The Pariah, the Parrot, the Delusion

Too long overdue, but still outstanding

Gareth Scullion | 06/09/2009

(5 out of 5 stars)

"The follow up to 2005's stellar "Catch Without Arms" is finally here, and while "The Pariah, The Parot, and The Delusion" won't be winning over any non-believers, it certainly shouldn't be a disappointment for current fans.



The band takes little risks with this release, undoubtedly in light of their obvious predicament. After releasing one conceptual masterpiece, "El Cielo," and the more straight-forward but equally as satisfying "Catch Without Arms," the band must have been concerned with how one finds balance between both albums while keeping everyone happy.



The new album manages to find that balance. Fans of the earlier work will be relieved to know that dredg hasn't gone in a more commercial direction; which, if I remember correctly, was a big concern for some after the last release.



The songs on the record should get better with age, unlike the immediately good but quick staling ones off of "Catch Without Arms." Also, the experimental edge missing from the last release is back in full-swing; Indeed, "The Pariah, The Parrot, and The Delusion" is perhaps dredg's most experimental record to date.



Of course, there's a flipside. Despite sharing a "Brushtrokes" type interlude technique (here, they're called "Stamps of Origin"), the conceptual aspect seems to be existent only on the surface. The album never reaches the conceptual heights of "El Cielo," and if there's some deeper theme to delve into here, it's blown right past me. You won't find the diversity of the previous albums here, either. For the most part, the songs all carry the same moods and move at the same tempos.



The album isn't bad by any means. It's just not the aesthetic statement fans are likely waiting for after four years of vacationing. Still, there's something here for everyone- U2's-esque soundscaping guitar solos, more experimentation with different sounds than the last Radiohead album, and a more heartfelt aesthetic approach than that of--well-- any Tool album. It could be that the album takes to few risks; low points are as few and far between as ever, but the highs aren't nearly as high as on previously releases. It may also just be that dredg just isn't the sort of band that can afford to wait almost half a decade between albums.



I give "The Pariah, The Parrot, and the Delusion" an 90/100, or 4.5/5; rounding up to 5/5.

"

"So Keep Moving Onward..."

Andrew Estes | Maine | 06/23/2009

(5 out of 5 stars)

"Dredg's first album in four years, "The Pariah, The Parrot and The Delusion," is the first since their debut to be recorded without the supervision of a record label and the pressure to deliver a "hit" single, and it shows. Reverting more to the structure of their sophomore/break-through album, "El Cielo," while retaining the knack for writing conventional songs that they fine-tuned on "Catch Without Arms," Dredg may have very well made both their most ambitious and most accessible effort to date.



For Dredg, it's all about moving forward, which means no more 20 minute long interludes/instrumentals but also, no restraint. As good as "Catch Without Arms" was, it was all too obvious that they were holding back, thanks to being on a major label and still being relatively young in their career. With the maturity and freedom they have finally attained on "The Pariah, The Parrot and The Delusion," the California foursome leave no sonic stone unturned. A band truly in love with the art of making music, they will explore and expand whenever and wherever they can. If it means writing a "bumping," radio-friendly single with a hip-hop beat ("Saviour"), then so be it. If it means peppering your album with bizarre interludes like "R U O K?" that feature digitized vocals or "Long Days and Vague Clues," which could easily serve as the score for a Tim Burton flick, then that works too. The bluesy "Lightswitch" or the more modern-rock-ish "I Don't Know" help off-set the balance, but it's the sleek and cool R&B of "Mourning This Mourning" that best sums up Dredg's adventurous nature and their ability to make just plain good music. What really stands out here, though, is the fact that Dredg are no longer confined to being just an "art-rock" band, nor are they held back by catering to a mainstream that they will likely never fit into anyways.



The songs are great, and the musicianship is top shelf. It's every bit as experimental as you expect Dredg to be, while being every bit as cathartic and emotional too. Four albums in and over eleven years in the game, they show no sign of slowing down and have yet to sacrifice a shred of credibility. Longtime fans will rejoice at somewhat of a return to form for the band, while those late-comers who prefer a slightly easier-to-swallow sound will no doubt be enlightened by all "The Pariah, The Parrot and The Delusion" has to offer. If you have made it to the end of my review and you still aren't convinced, take my word for it: This is the best album you'll hear all year.

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Their best album

Brian M. Lear | Portland, OR | 08/08/2009

(5 out of 5 stars)

"This album contains the refined essence of Dredg--focused, smart, and hard-hitting modern rock fronted by a passionate singer and backed by an incredible group of musicians. The drums, especially, are creative without being busy, and add a beautiful rhythmic dimension to the songs. I am blown away by this record, basically. The production is very tasteful--you will hear strings, keyboards, the works, but it doesn't detract from the Dredg sound. The vocals are more present and harmonious than ever, understated and simple, with mature melodies that eclipse anything on the prior albums. This album seems to signify a happier band. The lyrics and mood combine to give the impression that they have learned certain realities about the world, and they are now comfortable with who they are. And this is really the fundamental difference from past Dredg albums. Before there was an agonizing, yearning, almost depressed quality to the music. Here we find the band set free, a band comfortable with themselves and their music. The result is possibly the best album of 2009.



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