CD of The Week

The Dismemberment Plan is no longer terrified. On their fifth album, and first in 12 years, Uncanney Valley brings the Plan back confidently relaxed. Between break-ups, reunion shows, solo albums and frontman Travis Morrison singing in a church choir, the Plan has grown up and re-imagined their sound. They retain their signature intensely driving drums, and knick-knacky keyboard samples, while steering away from their neurotic, jerky melodies of old. Vocally, Morrison takes a friendly and polite tone, sounding more sure of himself than he ever has in the past. But over all, the critical battle determining this album’s acceptance will be between die hard fans and new or open-minded listeners.

Longtime fans will find familiar electronic effects in “Mexico City Christmas” and “White Collar, White Trash,” which both belong on 8-bit video game soundtracks. Those same fans might stick their noses up at the very non-Plan-ish group-chant of “Go and Get It” and the initial Bjork-like two minutes of “Invisible.” Like revisiting an old friend, “Let’s Just Go To The Dogs,” feels like a typical Plan album ender, capturing the mood of “Back and Forth” (from Emergency & I), while wrapped in a care-free Christmas package. Christmas is actually present across the entire album, between “…Dogs,” “Mexico City Christmas” and the album starter, “No One’s Saying Nothing:” a pleasant (albeit, lyrically embarrassing) surf-Christmassy tune. They also show vulnerability with the beautiful “Lookin’,” floating the listener away on an angelic cloud of love (perhaps their first straight-forward love song) and the lyrically somber “Daddy Was a Real Good Dancer:” which sentimentally reflects on a misunderstood father. “Daddy’s” story is appropriately told to an upbeat, dance-able tempo, standing apart from the rest of the album (not to mention, their entire discography) as a simply constructed, straightforward pop single with a bit of country twang. But no one can call this a completely divergent album since it includes “Waiting:” the most Plan song the Plan has ever recorded. You no longer have to piece together sections of their catalog to offer a tutorial of their sound, it’s all here; quirky synth effects, watery smooth guitars ala Change, fast talk-singing, a great mid-song build, and a driving yet angular drum beat.

The Plan has always known how to bait and trap listeners: a “build and deliver” structure has been their specialty. This does not happen once on Uncanney Valley. The other missing element is Morrison’s superfluous use of “Yeah.” Not one “Yeah” resides on Uncanney Valley, which is somewhat saddening. Morrison has always punctuated his phrases with an excited “Yeah!”, or a deadpan, stoic “yeah” (especially live), evoking a raw expression of mood. Using “Yeah” as punctuation might seem like an insignificant thing, but it was truly a Dismemberment Plan trademark.

Uncanney Valley is a great album that grows and flourishes with repeat listens. There are new melodies and exotic effects unearthed after each subsequent play, which keeps the album interesting. The Plan has figured out where they are, where they want to go, and how they want to get there. With cruise control engaged, their laid back approach is both comforting and moving. One can only get excited at the thought of letting loose, dancing uncontrollably to many of these new songs when they play the Union Transferon Sunday, November 3rd. So buy their album, go to the show, and help The Dismemberment Plan get rich!