One of my most ardent fans (actually, the only person I can tell that has written me more than twice) went off the handle that I liked ATREYU in my last column and hadn't reviewed DILLINGER ESCAPE PLAN's latest work, Miss Machine. So this one's for you.

Over the past few years, I've witnessed, live and on record, the impressive force that is the DILLINGER ESCAPE PLAN. They continue to escape -- make that elude -- classification into the hardcore genre by working with artists like Mike Patton, along with their signature odd time signatures, elements of jazz and heavy metal all slamming into each other like atoms around a particle accelerator.

In the past, the results have always been mixed, even in their best work. The group just seemed too schizophrenic. Finally, with new vocalist Greg Puciato in the fold the group is working like a very convoluted, yet well-oiled machine. Gears mesh in odd ways but the result seems to work.

Puciato is the key to most songs. The band is amazing on its own but when Puciato actually tries to sing (a lot like Mike Patton), he's stunning. When screaming, he's fierce and then on tracks like the epic "Phone Home," he finds his own midway point that impresses even these jaded ears.

Miss Machine also stands out as an excellently recorded disc. Headphones or a large sound system are advised.

Bonus Pick of the Week

I don't care what anyone writes me after today, RUSH is fucking cool. Most readers of this column won't admit it but at one point they probably sat on their bed in awe of 2112 or, for the generalists, Chronicles piping through headphones. Everyone instantly wanted to be part of a rhythm section. Sure the years of NIRVANA and later indie-rock chic forbade such indulgences.

Now, as a secure adult I can relish in RUSH as they're played constantly on local radio in Chicago. So when I saw this gem staring at me from the $8.99 rack at Best Buy, I snapped it up. RUSH delivers eight of the songs that directly influenced them on Feedback. Despite the seemingly tired concept, it is a pretty remarkable and raw recording that sounds like it was born of the late 1960s and early 1970s. "For What It's Worth" sounds fantastic and proves there is more to RUSH than Geddy Lee and Neil Peart. Although, Lee's voice is surprisingly mellow, barely reflecting his trademark pitchiness.

Other tracks like THE WHO's "The Seeker" and BUFFALO SPRINGFIELD's "Mr. Soul" are equally remarkable and faithfully done. But behind them all you really do hear RUSH and the remarkable musicians they still are.

Derivative & Indie Pick of the Week

I actually don't mind the new full-length by SENSES FAIL. As far as emo meets hardcore meets Vagrant Records meets Drive Thru records goes, it isn't half-bad. If you can figure out what the heck a band sounds like after all that, you're not far off. To me, the band sounds a little bit like FURTHER SEEMS FOREVER.

But the reason the CD isn't half-bad has nothing to do with the lack of original direction. As I sit back and try to soak in the new direction of MTV and the ASHLEE SIMPSONS, whoever that moron she was dating is and YELLOWCARDS invading the airwaves, I hold back that little vomit in the back of my throat and hope these aren't the best of the new crop of bands aimed at today's youth. In that regard, SENSES FAIL actually succeeds in not making me wretch. The guitar playing is very decent even if the singing makes me wonder why every band on earth has to have that hardcore screaming even if they're not a hardcore band. I can also envision me not minding the band playing at the local punk show.

Sure, I'm not going to slap this in my car on the way home from work because I'll look pretty lame. I'd probably play something like Blast Tyrant by CLUTCH and still look lame but at least I'd be enjoying myself the entire time.

Next Week: HOT WATER MUSIC and more...

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