DIABLO SWING ORCHESTRA — Sing Along Songs for the Damned & Delirious (review)

DIABLO SWING ORCHESTRA — Sing Along Songs for the Damned & Delirious album cover

Album · 2009 · Avant-garde Metal

5/5 · 2018-09-25
siLLy puPPy

After dropping their avant-garde fusion bomb in the form of the debut “The Butcher’s Ballroom” onto an unsuspecting world in 2006 with their deliciously provocative fusion of swing jazz, heavy metal, classical opera and progressive rock, Sweden’s zany DIABLO SWING ORCHESTRA returned three years later to present the world with an equally mind-bending, genre-blending mishmash of musical madness in the form of SING ALONG SONGS FOR THE DAMNED AND DELIRIOUS. While a few lineup changes occurred in the three years passing with new trombonist Daniel Hedin joining the cast and trumpeter Martin Isaksson replacing Tobias Wiklund, the general gist of this sophomore release pretty much carries on exactly where “The Butcher’s Ballroom” left off and continues the journey into the demented DSO universe.

While “The Butcher’s Ballroom” put DSO on the map as experimental rock and avant-garde metal pioneers, SING ALONG SONGS FOR THE DAMNED AND DEMENTED is the album that got them larger worldwide recognition. Once again this whacky band delivers the goods in the swing department as they not only captured the jazz swing revival that was propelled by such acts as the Squirrel Nut Zippers and the Cherry Poppin’ Daddies but they also scoured the planet to find other suitable types of swing genres such as that of European gypsy music and Balkan folk to add to their symbiotic stew of their metal fortified dancehall. Mix in some Middle Eastern, some tango and top it off with a heavy metal bombast of dual guitar heaviness and you have a recipe for true eccentricity delivered like no other. In fact, SING ALONG SONGS was nominated in 2011 for the Eclectic Album category in The 10th Annual Independent Music Awards.

While not exactly differentiating substantially from the debut’s unabashedly brilliant delivery, nevertheless SING ALONG SONGS continues in perfect form with a whole new batch of ten exquisitely designed heavy stompers that swing, sing and bedazzle with a million tiny details tucked into the nooks and crannies. The whole festive affair is polished into a squeaky clean production with In Flames producer Roberto Laghi at the helm. In short DSO created their second brilliant masterpiece of mind-melting fusion in a seemingly effortless fashion that damns, dements and distracts the listener from mere ordinary musical experiences. If anything, SING ALONG SONGS perfects the techniques of the debut and adds new subtle elements to the mix which to the careful attentive listener will find a mind boggling amount of brilliance embedded in every aspect. Set mind status to fully blown!

“A Tap Dancer’s Dilemma” starts things off sounding like a Satanically spawned version of the Glenn Miller Orchestra that was somehow abducted by evil forces and had their DNA cryogenically spliced and preserved only to find its way into a strange new millennium. The track really sounds like Glen Miller’s “In The Mood” with its swinging characteristics but augmented by the metal riffing, Spaghetti western trombone and trumpet as well as the vocal dualistic antics of the operatic soprano prowess of Annlouice Wolgers and Daniel Håkansson’s playful male vocal counterpoints. In fact the entirety of the album finds these two throwing the ball back and forth which gives a lively call and response conversational oomf to the process.

“A Rancid Romance” shows immediate diversity to the album’s flow as it takes a tango groove on piano and bass and adds super heavy metal guitar riffing. Wolgers’ and Håkansson create a lyrical dialogue and interesting variations between the verse / chorus and bridge construct as the melody recurs throughout but new elements piled up bringing the whole thing to an interesting chaotic crescendo where progressive touches kick in with time signature freakouts alongside tension inducing drones that ultimately end in a symphonic acoustic classical Paganini violin solo.

As the tracks continue they only get more interesting. “Lucy Fears The Morning Star” engages a Wagner-esque classical pomp, a heavy metal stomp and high C glass shattering vocal sublimeness from Wolgers. “Bedlam Sticks” has more of a cartoonish feel. Sorta like an Elvis Presley meets Dracula vocal style that cedes into a rather demented bouncy metal stomp. “New World Widows” finds a respite from the bombastic approach with a nice echoey clean guitar intro that cedes into another bouncy metal rocker with Wolger’s diva vocals soaring like a white-winged dove. “Siberian Love Affairs” takes the Eastern Europe polka as a short interlude while “Vodka Inferno” continues another swinging metal stomp with some of the oom-pa-pa polka rhythms. “Memoirs Of A Roadkill” adopts a Django Reinhardt style of gypsy swing with exquisite guitar riffing but takes an unexpected Radiohead-esque alt rock turn. “Ricerca Dell’anima” implements a surf rock approach to adapt to the DSO way of doing things.

The album ends with the longest track “Stratosphere Serenade” that begins with a dynamic cello workout followed by some stellar metal guitar riffing. This is probably one of the more progressive tracks as it is a dialogue between the metal and classical elements with more varied time signatures than most tracks. Yet another track that sounds unlike the rest with many interesting movements within. The track climaxes with a lengthy fadeout of a recurring riff that speeds up. Quite the satisfying end of the demented journey. While being pegged as avant-garde metal, DIABLO SWING ORCHESTRA should be considered to exist in their avant-garde world. The metal bombast is supplemental only to add a level of heaviness to the underlying swing jazz, gypsy folk, tango and classical elements.

This is experimental music in every possibly way and the ultimate statement of a 21st band that effortlessly amalgamates disparate 20th century genres. This is music nerd’s paradise and pretty much designed for those who love the individual elements that went into it. Personally this is my sort of music and the dynamic catchy melodic hooks that SING ALONG SONGS FOR THE DAMNED AND DELIRIOUS means i get a lot of mileage out of this one. In fact, it’s one of those albums that works on many levels. It is truly ear worm hook music that guarantees a pleasing melodic sing-along style experience while on a deeper level is super-sophisticated as it unleashes treasures upon multiple visiting experiences. While many avant-garde metal leaning bands have come and gone, none have so successfully pulled off what DIABLO SWING ORCHESTRA achieved on their first two albums. As far as i’m concerned both are flawless examples of commingled creativity taken to the highest levels.