#tilian pearson

[shewaschosenbygod]

[fayekage]

Toned my hair 💅✨🖤 Going to see & meet Tilian tonight so leave me cute comments to read afterwards.

[wantonglances]

Tilian Pearson singing about inner demons, tomato basil bisque, cocaine, pussy, and alcohol.

me:

[seasonofthebxtch]

I wish more bands would release instrumentals of their albums like Dance Gavin Dance do

[the-w0nder-beards]

Dance Gavin Dance

Tribute to Tim Feerick

Swanfest

4/23/2022

[cvitiepipp]

Dance Gavin Dance//NYC 2021

[a-fix-of-muses]

POV: You just heard someone mention they love Dance Gavin Dance

[falloutbradreviews]

Dance Gavin Dance - Jackpot Juicer Dance Gavin Dance has had a pretty rough year, haven’t they? After longtime bassist Tim Feerick unexpectedly passed away earlier this year, longtime vocalist Tilian Pearson stepped away in June after some sexual misconduct accusations. Frankly, that soured my excitement for upcoming album Jackpot Juicer. I didn’t really listen to 2020′s Afterburner much when that came out, mainly because I didn’t listen to a lot of new music that year, but DGD is a band that’s been running on fumes for awhile now. I really enjoyed 2018′s Artificial Selection, because they brought in some funk elements to their sound after being so stagnant for years, but they’ve just been cranking out the same albums for years now. The sad part about it is that DGD is one of the most influential and important post-hardcore / math-rock bands of the last twenty years. Their debut EP, 2006′s Whatever I Say Is Royal Ocean, kickstarted a movement within the genre. Firstly, it introduced former vocalist Jonny Craig into the world of post-hardcore, but its sound was very fresh and exciting. A lot of bands would go onto cop that sound, including what’s now deemed “Swancore,” but at the time, DGD were a new band. Albums like 2007′s Downtown Battle Mountain and 2009′s Happiness (their second and last album with Kurt Travis) are classics within the genre, and even some of their first records with Tilian Pearson are great, but they’re not a band known for experimentation or innovation. DGD are a band with a sound that they stick to, and to be fair, I get why, because it works. Their fans are utterly rabid, and they worship the ground they walk on, for whatever reason, so they’ll gladly hear the same album done a million times. In a sense, there’s nothing wrong with bands sticking to what they know, but it becomes a problem later on, especially when you’re a band that was known for being innovative and interesting. Now they just sound like a former shell of themselves, and Jackpot Juicer really displays that, unfortunately. I’ve been going back and forth on whether or not I wanted to talk about this record, because it’s one of those albums that I like a lot when I’m listening to it, but the minute I turn it off, I forgot almost everything I heard, minus a few key and important moments that were really good. Part of the problem with this album right off the bat is that it’s eighteen songs and 63 minutes long. That’s the longest DGD album to date, but there’s no reason this album needed to be that long. It’s almost like this album never ends. I’ll look and see how far I’m into it, and I still have ten songs left, when that should be the entire album right there. Its runtime wouldn’t be an issue if the songs themselves were interesting enough, meaning that they justify the runtime, because they don’t. I hate to say it, but this album is kind of boring. It’s not boring musically speaking, but it’s clear that DGD are just writing the same songs over and over again. Everything sounds rather impressive, whether it’s Pearson’s clean vocals that are some of the best I’ve ever heard, Jonathan Mess’s screaming vocals that are always on point, or the guitatwork from Will Swan, but it all comes together in a very forgettable way, especially when everything blends together. Every song on this album sounds like the last one, and if that’s what you want, that’s great, but it becomes an issue when there’s no variety or diversity here at all. That’s the reason I’ve been wrestling with reviewing this album now; everything on here sounds great, but is it worth there being no variety at all? It’s an hour of the same song, just tweaked a little bit each time, and even then, this is a gimmick they’ve had for years. I’ll admit that they do sprinkle in some pop-rock / R&B elements here and there, thanks to the vocals, as well as guitarist Andrew Wells (also of Eidola) providing some clean vocals, too, so it’s a bit of a new dynamic (honestly, if the band kept him as their lead vocalist, I’d be very interested to hear what they do next), but that’s it. The music itself is still the same, so there’s nothing new or interesting there, and it just bores me after awhile. I really wanted to like this album more, but due to Pearson’s unfortunate exit, and the album just being a snoozefest when it comes to its length and its lack of diversity, I don’t care for this as much as I wanted to. It’s sad, because I used to love DGD, and I still do, but they’re running out of ideas. At the very least, they’re complacent with doing the same thing and sounding the same on each record. Honestly, if you want a better album with this same sound that just came out a couple of weeks later, peep the new Royal Coda record, To Only A Few At First, which just came out over the weekend. That’s the newest band from former vocalist Kurt Travis, and it’s got a very similar sound, but done in a much better way. I’ll talk about that album later this week, most likely, but I really love it. Jackpot Juicer isn’t outright bad, it’s actually great in small doses, but that’s the key -- small doses. If this album were about 15 to 20 minutes shorter, I’d love it a lot more, but as it stands, it’s okay, just really boring and very complacent from a band that is capable of a lot better.