Is it humanly possible, however, to digitize this destructive force, to burn it to the monodimensional confines of a compact disc and still do it justice? In most cases, seldom, if ever. But Dillinger is the exception, not the rule. Few have come as close to corralling so many jagged intricacies without sacrificing the chaotic spirit that lies at the core of and drives the music itself. In short, Calculating Infinity is a phenomenal release by one of the relatively few bands genuinely forging new, exciting ground in extreme metal.

What makes Dillinger so goddamned untouchable is what separates it from the glut of bands lumped under the banner of metal – its ability to keep the listener at a distance, practically gasping in sheer awe. The band is the master of what I’d call the anti-hook, devoid of any pounding yet catchy grooves to yank listeners into the flow of the music. Sure, the band likes to fuck with you, juxtaposing the assault with jazzy and ambient interludes, such as the track “*#..” and “Weekend Sex Change,” each emanating a semblance of a portal into the music. Just as you are lulled into complacency, however, you’re back on the hellbent rollercoaster ride without a seatbelt, whiteknuckled, once again hanging on for dear fucking life as tunes like “Destro’s Secret” and “Variations of a Cocktail Dress” provide enough caustic twists and turns to induce nausea. Unlike an amusement park rip off, however, the total ride lasting less than one minute, this goes on for almost 40. So take your Dramamine. You’ve been forwarned.

If ever there was a sound befitting of a description such as “controlled chaos,” it is the avant-garde, jazz-metal stylistics of the Dillinger Escape Plan. Adept musicians and chaoticists, the band has released, without a doubt, one of the premier albums of 1999, successfully challenging established preconceptions of heavy music and listenability while showcasing one of the tightest and most talented ensembles playing in any genre of music.