Giraffe Tongue Orchestra – ‘Broken Lines’

By James Lee

If you’ll allow us to put on our cynical hat for just a moment, it would be very easy to look upon Giraffe Tongue Orchestra as Ben Weinman’s retirement plan. Though the alt-metal supergroup’s very existence has been rumoured for many years, it’s hard to see it as simple coincidence that their debut album, ‘Broken Lines’, is being released just weeks after The Dillinger Escape Plan made the unexpected announcement that they plan to break up following the touring cycle for their new, and apparently final album, ‘Dissociation’. Following two decades of both musical and physical acrobatics taking their toll, nobody could blame Weinman for wanting to settle into something that, while still unarguably a heavy band, is definitely a step into more mainstream territory, and that comes with it an almost guaranteed audience thanks to the calibre of musicians joining him on the project.

Though he has proven time and time again that his punk rock credentials are second to none – from Dillinger’s unhinged legacy to the ethically righteous Party Smasher Inc label, who are co-releasing this album along with Cooking Vinyl – it’s easy to believe that, now in his early 40’s, even someone like Ben Weinman could do with an easier ride of things in a much more relaxed musical environment. One spin of ‘Broken Lines’ though, and it’s clear that there’s nothing here that smacks of compromise or taking the easy route. Whilst nowhere near as head-spinning as the average Dillinger Escape Plan record, there’s no shortage of musical fireworks on display here. Weinman’s playing has only gotten better over the years, and in many respects this record feels like an even better showcase for his talents than even Dillinger, whose manic arrangements often overshadow the sheer musicality on display.

Of course it would be wrong to suggest that Giraffe Tongue Orchestra is the sole brainchild of Weinman – Mastodon’s burly shredmeister general Brent Hinds joins on axe duties, his unique playing making just as much an impact on the songwriting on display here. Though aspects of the Dillinger sound do creep through on occasion, such as in the jazzy lead single ‘Crucifixion’ and on album closer ‘Broken Lines’, Hinds’ meaty riffs and winding leads get plenty of airtime too, the pair’s individual styles working with rather than against each other to create something that is neither derivative or inferior to either’s main band. Keeping the guitars in check are the masterful rhythm section of Thomas Pridgen (The Mars Volta) and Pete Griffin (Dethklok), the bass and drums dazzling in their own right without ever feeling overworked, or that they’re trying too hard to overwhelm with their obvious technical prowess.

Providing the bright shining bow on top of this exhilarating package is William DuVall, lead vocalist of 90’s alt-grunge titans Alice In Chains. After having already proven his worth stepping into the sadly vacant shoes of Layne Staley on the last two Alice In Chains records, DuVall is the MVP on ‘Broken Lines’, revealing himself as a far more versatile vocalist than many could have imagined. Though his powerful and haunting singing voice is given plenty of attention on tracks like album opener ‘Adapt Or Die’, it’s in some of the more experimental moments on the album that DuVall really proves why he was the right choice to front this band of musicians that, on paper at least, peddle much heavier music than he’s normally associated with. There are flashes of Mike Patton on ‘Fragments & Ashes’, where DuVall veers effortlessly from beautiful, soaring melody to gravelly, unsettling spoken word to manic screams. It’s a towering performance, and though at times it feels jarring hearing such a different type of voice accompany Weinman and Hinds’ frazzled riffing, once you settle in it’s an intoxicating combination.

How likely Giraffe Tongue Orchestra are to become a full-time band is hard to guess at this point in time. Though Dillinger are currently working their notice period, it could be a good year or two before their touring cycle finally grinds to a halt, and Mastodon show no signs of slowing down any time soon, themselves about to hit the studio for album number 7. It’s a shame because GTO have produced an incredible debut albums that deserves to stand on its own, away from the glare of its members’ other bands. It takes brave and skilled musicians to craft something that can effortlessly flow from hard rock to electronic funk, head-scratching mathcore through delicate balladry and beyond. Even if our cynical side is right and this is Ben Weinman easing himself into retirement, it doesn’t appear that he could go out with a whimper even if he wanted to – ‘Broken Lines’ is still as full throttle as anything he’s ever produced in the past, just in a different gear. In a sleeker car. With nicer seats.

JAMES LEE

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