The noise-masters will take the small stage on the 24th August, with tickets going on sale today [22nd August] at 15:00 BST.

The band are to release their new album, ‘Dissociation’, on October 14th, before their planned ‘extended hiatus’. They unveiled lead track ‘Limerent Death’ earlier this month, of which frontman Weinman said: “It is one of my all-time favorite DEP songs. I feel that this song is one of the rare instances where all the members are feeling, and conveying, the same energy from start to end. A sharp focused dagger plowing its way through thick heavy walls.”

Thick, heavy walls like the Old Blue Last.

Here’s looking to album number six.

Download booker Andy Copping has spilled the beans on a bunch of new bands for the 2014 edition of the first this morning.

He announced that Dillinger Escape Plan, Feed The Rhino, SikTh, Buckcherry, Thy Art Is Murder, Avatar, Volbeat, Lonely The Brave, Jake E Lee’s Dragon Cartel, Memphis May Fire, Arcane Roots, The Amity Affliction, Battlecross and Suicide Silence have joined the line up.

Get tickets now from here

http://www.downloadfestival.co.uk/

Check out the dates below. What a line up.

OCTOBER
31 BRIGHTON Concorde 2

NOVEMBER
01 CARDIFF Solus
02 LEEDS The Cockpit
04 ABERDEEN The Garage
05 GLASGOW The Garage
06 MANCHESTER Academy 2
07 WOLVERHAMPTON Slade Rooms
08 LONDON Koko
09 NOTTINGHAM Rock City

http://www.facebook.com/mybshwll

It’s taken from their ‘One Of Us Is The Killer’ album, which is available now, and you can watch it using the player in this article.

HOW ARE YOU?
Good. Punktastic, thank you. Yeah, I’m feeling punktastic. That’s gotta be your thing now, get people to do soundbites for you. Those things suck for me because I have a horrible memory. I need cue cards to even just function in life. I walk into walls. I can’t do two things at once. That’s a male thing, but I’m even worse. Females are better at multi tasking, I don’t know why. If you’re talking on the phone and someone else talks to you, I bet you don’t malfunction like I do. I’m just like ‘power down’. I’ve powered out.

HOW’S YOUR DAY BEEN?
Fine, yeah. We’re here in the UK, in London, and we’re just over here doing press. That’s odd. When you’re a kid and you start a band you don’t think that anyone would ever have heard of you in England, let alone that you’d just go over there to talk to people. We don’t take it for granted. It’s pretty cool. We’re just over here to get some Paddington Bear gifts from the airport, you know.

HOW ARE THE INTERVIEWS GOING?
They’re not bad. It goes up and down. I like the personal ones but I hate the phone ones. Talking on the phone is such a waste of time to me, in any shape or form. I wanna be with people. I wanna sit here like this. I wanna hang out. This is the second day of press in London and we’re going to Paris tomorrow morning on the train, the underwater train.

SO WHEN ARE YOU PLAYING SOME SHOWS?
Well, the US is big man, and we’re covering the US first. And we’re pretty much doing smaller places, not even major cities, and then we’re coming to Europe to do some festivals and we’re going back to do a major market tour of the US for the summer and then we’ll come back to the UK in the fall and do a full banger of a tour. We’ve been doing this a long time. Since 1997. You weren’t even born then.

DO YOU STILL GET THAT BUZZ FROM PLAYING EVEN AFTER ALL THAT TIME?
Yeah, I mean it’s cool. I still feel nervous all the time so it’s kind of stressful. It’s probably slowly killing my insides because I get so nervous every time we play. We’ve been doing it so long and we’ve got 150 shows booked right now, so yeah, it’s stressful. But I think you should never be comfortable. You’re not gonna do anything important if you’re not pushing yourself and you’re not pushing other people into uncomfortable territory.

SO THE NEW ALBUM COMES OUT ON MAY 20TH OVER HERE. WHAT CAN WE EXPECT?
Yes. Expect another Dillinger record. Dillinger fans will be happy. If you don’t like our band then you probably won’t like it. It’s not gonna sound like Rihanna, but yeah, it’s really hard to be objective about these things. We just make it and we can’t really tell what the deal is so we step away from it and put it out there. It’s cool to listen back a few months later and you kind of get a retrospect into where your head was at when you made it but it’s kind of hard to do that straight away.

ARE YOU EXCITED TO PLAY IT LIVE?
Sure. Yeah, it’s definitely cool to introduce new stuff into the mix, and it’s cool for people to hear new songs and we’ll see some new faces hopefully.

IT’S PRETTY IMPRESSIVE THAT YOU’RE STILL HERE AND STILL RELEVANT AFTER ALL THIS TIME.
I think it’s important for us to be here as  a band because we are coming from a time before there was this internet access. There was internet obviously, but Youtube didn’t really exist and there wasn’t Facebook and stuff like that so it took a lot more work to get into music. You had to really seek it out and go find it. You had to travel to see bands and people appreciated that you worked that hard and there was a lot more unpredictability because you never knew what you were gonna get and people absorbed it a lot more, whereas now you can look it up on Youtube and see the band play in every city in the world before actually seeing the band play. That’s really bizarre for me because I used to take so much time exploring and investigating music, and then seeking it out, travelling and finding people to carpool and drive hours to see a band that we never even saw before, just to see what they were like. That was a really special time so I think it’s important for bands from that time to still exist and stir things up, and I really, to this day, think there’s nothing predictable about what we do, so we have to be here.

IT’S ODD WITH THE INTERNET AND THINGS LIKE TWITTER, BECAUSE IT MEANS THAT FANS HAVE DIRECT ACCESS TO THEIR IDOLS AND IT RUINS THE MYSTERY A BIT.
I don’t like the idea of rockstars and people feeling like they’re better than someone else, but I like the idea of having these mysterious people creating art for you, and I like that you only know what they let you know. The mystery to it has gone now. I enjoyed that, not that as someone in a band I want people to think I’m some mysterious creature, but I liked with the Chili Peppers that Flea was this crazy bass player and you only saw him in Bass Player magazine or on MTV on a music video, and you saw little promotional things that were out there, and you made up your own mind what this band was to you, instead of knowing what they ate for breakfast. I liked having that in my life, these bigger than life characters, so I think it kind of sucks that people don’t have that same kind of mystery.

DO YOU THINK THINGS HAVE CHANGED A LOT SINCE YOU STARTED?
It was definitely an interesting time to be making music then, because there weren’t many people who were doing what we were doing. There were all these sub genres, like in anthropology when you’re talking about a tribe that isn’t affected by all these cultures around it, there were all these little scenes that weren’t that heavily affected by the outside. The mainstream pop world was the same everywhere and everyone was listening to the same pop songs and hearing them in the same way, but all the underground stuff was very divided and compartmentalised and it was very cool because when something blended, it was magic and new stuff came out of that, but now it’s all blended together. I mean, when we came to Europe for the first time, everyone looked different and reacted to music differently and it was drastically different. I mean, you’d go a few hours away and the culture would be drastically different. Now everyone looks exactly the same and raises their fist at the same time and they’ve all experienced it at the same time and in the same way on the computer. It’s cultural depression, because while we’ve become more together in a lot of ways and it’s great – I wouldn’t trade it, I love technology – but there is this homogenised blend of everything now. There’s not a lot of individual things happening. It’s not even me complaining as an artist, it’s me being bummed for people not having that experience. It was so cool.

ANY LAST WORDS?
We’re looking forward to putting this record out and playing some shows. The UK is our favourite place. You’ve always been supportive of us. We’re stoked. The rock scene is very loyal. The UK and Australia are our favourites. There’s something about the loyalty here. They stay with you. Everyone should come out to the shows when we come back in the fall.

LAIS MW

A message from the band said the following…

“Jeff Tuttle has been a valuable member of The Dillinger Escape Plan since the beginning of the Ire Works cycle. He started his time with us in mid 2006 in a period of turmoil, and his positivity and team player mentality, his enthusiasm, and his fire onstage, will always be appreciated and will never be forgotten. That being said, for now, as you will read, his future with us is uncertain, but whatever the future holds for our relationship with him, we love him and wish him well and success as a brother who has gone into battle with us for six years, and we hope he enjoys and finds creative fulfillment in film school and his future endeavors. Check out his other bands, and read his official statement below.

-The Dillinger Escape Plan”

http://www.facebook.com/dillingerescapeplan

[Thanks to Jack Marmozets for the heads up on this story]

Shaking off hangover number one for Saturday, the first band we caught, and the second band to take to the Red Bull stage, COLLAPSE THE CONTROL, were, without a doubt, one of the worst of the weekend. An almost carbon copy of every other ‘death-core’ band, Collapse the Control fail to excite and lack the stage presence or talent to fully engage the audience and ultimately leave the crowd underwhelmed and little amused.

At the other end of the scale, GOLD KIDS may be from a small island with an even smaller scene, but as they bound onto the stage with their brutal brand of hardcore, it’s clear these Italians mean business. With frontman Andre providing the fuel for the mayhem his band are causing in the pit, it’s clear that they have both the talent and attitude to propel themselves further.

MAKE DO AND MEND are the perfect start to the evening, with a set packed with tracks from their latest album, End Measured Mile, they pull a strong crowd who sing along to the near faultless renditions of their songs, with Oak Square a particularly strong opening highlight. They seem to be soaking in every part of the experience and never fail to impress with their live shows.

BRUTALITY WILL PREVAIL bring the Front/Etnies stage to the brink of insanity with an appropriately brutal set which saw a huge pit erupt, including a huge man in a balaclava. Chaotic and heavy, Brutality will Prevail were a lot of fun and demand, at the very least, a curiosity look. A very memorable performance from a band that many might write off as a novelty.

Meanwhile on the main stage, GHOST OF A THOUSAND powered through their last ever show with an impassioned set that, though devoid of surprised, was a perfect sign off for a band that never quite got the recognition for the years of hard work and great songs they gave to the world. A band that will be sorely missed, but not a bad sign off at all.

The Jaegermeister stage was plagued with sound problems for the entire weekend, one of the bands to battle successfully through these issue were ARCHITECTS. A brilliant, energetic set that saw everyone in attendance come alive and managed to prove just how good this band actually are. A big name on everybody’s lips, Architects lived up to and exceeded the hype. Awesome.

TITLE FIGHT share similarities with many of the bands on the lineup this weekend, and as they launch into songs from the upcoming Shed, the packed tent is an indication of the anticipation for more of the same. This is music to pump your fist to (and many do) and the band struggle to maintain energy on slower tracks – however, when they pull it all back with a mass stage invasion to the title track of the aforementioned ‘Shed’, its evident that their brand of hardcore influenced pop-punk is in high demand.

With the majority of people at the Jaegermeister stage to see Dillinger Escape Plan, the Macbeth tent became a die-hard, intimate BOUNCING SOULS show. Seasoned veterans of punk rock, Bouncing Souls took the Macbeth tent and made it their own. As the set progressed, the crowd got bigger with the party atmosphere. Bouncing Souls are a tonne of fun and, even though an average studio band on occasion, a brilliant live act every time.

Elsewhere, we joined the big majority of Saturday’s crowd for DILLINGER ESCAPE PLAN. Not quite the absolute carnage that was hoped for, with the stage leaving the sound a little flat, but there’s really no-one like DEP when it comes to delivering mathy hardcore that equally perplexes as it does impress. Stuck in awe as usual, and there’s no doubt that the band are one of the main reason this festival exists.

The more left unsaid about the after-band activities of Saturday the better, but Hevy 2011’s Saturday will long be remembered as one of the best line ups a festival had this year, and it was everything it promised to be despite a few niggles in the sound department.

Dillinger Escape Plan

HENRY MCCAUGHTRIE / EMMA BUFF / TOM AYLOTT

For galleries, videos and more from Hevy 2011, head to our festivals section.

The way he immediately shuts the door to block out Eden Maine’s soundcheck and the quiet authority with which he speaks suggests that Dillinger really is his life. “This business is a business, there’s a lot of politics that you can’t get round, and when you become a touring band that sells a certain amount of records, people’s paychecks are dependant on you. We maintain control over our band more than any other band this size, I’ve never even met a band that has more control over their product at this stage in the game.” Anyone that’s encountered DEP’s startling fusion of hardcore metal blastbeats, jazz intricacies and sheer balls-out imagination will know how unique they are, and their latest album ‘Miss Machine’ won plaudits from across the board because of its unusual inclusion of something hitherto extremely rare to Dillinger releases – melody.
“We didn’t try to do necessarily make it like that, but we wanted to create a much more dynamic piece. We’ve had a lot of dynamics in our songs before, like a lot of ups and downs and changes, but here we wanted to see if we could stretch that to an album, to make it more of a journey. There’s nothing worse than a band releasing a record that sounds like one big song. That was important for us, to create a single piece that still makes sense with all our feelings while we were making the record. Also, in the beginning, Dillinger was our outlet for our heavier side but we still listened to all kinds of other music, and as this band became the focus of our lives we wanted to incorporate everything into it.”

And success was all but a certainty, since everything Dillinger have put their name to, from their shockingly accomplished demo, ‘The Running Board’, to ‘Miss Machine’, has seen their stature grow and grow. Having said that, it’s not like they feel constrained by their past, as the sweeping choruses of ‘Setting Fire To Sleeping Giant’ and ‘Retrofied’ aptly demonstrate. “If we don’t incorporate these things into Dillinger then we’re putting ourselves into the category that we don’t want people to put us in, that there are strict guidelines to what we can do. Part of our sound is trying to create an element of surprise and unpredictability, and that’s what I feel is missing in music at the moment, both in the live form and recorded.” Do you feel like there’s a pressure to come up with more challenging music? After all, the NME said your band was better than the Beatles, so how do you cope with that? “Something we have done on the new record is having the element of Dillinger that people recognise, and then incorporate proper song structures so people can see that we’re not just doing random stuff, that there is a style and a purpose behind our work. We thought the best way to show that was to write songs that have a bit more of a typical structure but that still maintain elements that people like about us, that was the challenge.”

When asked if Dillinger has, in effect, been pushed into a corner by being so musically schizophrenic when creating a new album, Ben smiles as if he could only ever scratch the surface of what he wants to achieve. “ I don’t think we’ve even touched on a lot of stuff at this point. I think it’s obvious by our records that we would keep going if we could, we’re always pressed for time, maybe because of money or whatever. There’s so many tracks that were never used on the record because there just wasn’t time. We’re a lot more involved in the production than a lot of bands, sometimes we just do it all on our own. Up until the power was turned off on our console I was on my computer trying to work stuff out.”

Dillinger’s music is, to some, completely impenetrable. The unflinching assault of Weinman and Brian Benoit’s guitars (there is no single ‘lead’ guitarist, since both musicians are talented enough to play completely different, yet brilliantly complementary runs simultaneously), subtitled by Liam Wilson’s pulsing bass and marshalled by the brutality of frontman Greg Puciato soars over many people’s heads. When they supported System of a Down just after ‘Chop Suey!’ catapulted SOAD into the musical stratosphere, they had thousands of kids screaming abuse at them every night, but this doesn’t bother Dillinger in the slightest. In fact, it pushes them further: “We weren’t part of our music scene, bands we were in weren’t fitting in when we started, and that was what was behind us when we began Dillinger. There’s nothing greater than creating something out of nothing, so it was a combination of making something that we wanted to hear. Now it’s on a different level – we were the nerds, and now in our world we’re the cool kids! But we don’t feel that way at all. We have the same frustration, we’re driven to destroy, we’re really competitive. The thought that there’s someone out there that thinks Slipknot is the heaviest band in the world, or that to them Lamb of God is like how Pantera was to us…or Carcass or Entombed…stuff like that drives us to make sure that we can go on.”

What is most baffling about Dillinger’s rise to cult-herodom is their acceptance by the mainstream press. This gig was set up by Radio 1 and Kerrang so it would be free, yet their music is specifically non-commercial. “We always try to liken ourselves to bands that have artistic integrity but that have still set their sights high. Like Tool, they just had a song that happened to be good for radio, I don’t think that was their goal as such. Like Radiohead, they had such a cult following that they could continue and make music that they enjoy that isn’t exactly radio-friendly and still maintain their size.” In that case, how far do you think you can push Dillinger? “Becoming a bigger band isn’t something we’ve necessarily tried to do. We want to play in front of as many people as possible but we’d never sacrifice our artistic integrity to do it. We write music that we enjoy, and when we started our tastes were a little more weird and against the mainstream, but now I think there’s starting to be a middle ground.”

And then two hours after this interview Weinman is jumping off speaker stacks and kicking errant stagedivers into the crowd. Dillinger are adored by the few and misunderstood by the many – they’re not just noise, they’re a coherent attack on homogeneity and bands without imagination. Grab hold of them and don’t let go.