Dog Fashion Disco

There has been a lot of talk about hype recently. Mainly from people who don’t appear to know what the word actually means, obviously, but the ongoing sneering shitstorm of cynicism that makes the internet such a routinely odious place to hang out does at least suggest that people are weary of having mediocrity shoved down their throats. I know I am, and I’m regularly involved in the shoving – albeit not as much when it comes to the latest batch of sexless, blank-eyed metalcore nerks. I tend to hide in the loo when that’s going on.

Anyway, my point is this… why doesn’t everyone just listen to Dog Fashion Disco instead? Here is a band – recently reunited after one of those curious hiatus things that are announced and then ignored by most people – that have just sold out the third of their forthcoming gigs at London’s delightfully sweaty Camden Barfly venue, and yet no-one seems to be shrieking about their brilliance from the rooftops of the rock media. But they fucking should, because Dog Fashion Disco are such a reliable antidote to identikit metal drivel that I am often driven to tears by the fact that very few people seem to know they exist.

Well, they do exist and they’re brilliant. Dog Fashion Disco first emerged in the late 90s, releasing a series of independent albums and cultivating a sizeable cult following in the US, before exploding (briefly, in truth) into the UK’s collective rock consciousness with 2000’s multi-coloured carnival of mentalism Anarchists Of Good Taste. Anyone who has spent countless hours listening to Mr. Bungle or any of Mike Patton’s more demented projects (which is most of them) will probably already know about DFD, but if not, prepare yourself! This lot are almost certainly your new favourite band. I would heartily recommend starting with Anarchists Of Good Taste, but the two albums that followed it – Committed To A Bright Future (2003) and Adultery (2006) – are equally brilliant, as is the band’s comeback album Sweet Nothings, which came out in July on Rotten Records and was roundly ignored by pretty much everyone. Except, it seems, all the people that have snapped up tickets for next weekend’s triple-gig extravaganza.
Ultimately, bands like Dog Fashion Disco will never get widespread acceptance because they neither fit into some media-created pigeonhole nor conform to contemporary expectations of what a rock or metal band should look or sound like. They’re not “cool” – whatever the bug-eyed, roaring fuck that means – and neither are they willing to play the usual, whorish media games that have become so essential for dull young metal bands to get that all-important foot in the door. What they are, however, is distinctive, daring, exciting, funny and ridiculous: qualities which may appeal only to a minority of folk, but that should always be loudly applauded by all of us who demand a little more from music than lazy box ticking and shit haircuts. Check out the brand new DFD video for Tastes So Sweet (from Sweet Nothings, natch) and then kick yourself for not buying tickets for the Barfly shows. I’ll tell you how brilliant it was afterwards, if you like. - Metal Hammer

Dog Fashion Disco have been re-recording new reimagined versions of their early albums over the course of the past few years and they’ve now provided a public explanation as to why. Thus far the band have revisited “Erotic Massage“, “Experiment’s In Alchemy” and “The Embryo’s In Bloom” (as “Experiments In Embryos“) and “Anarchists Of Good Taste“.

Just recently they announced that a new version of their 2003 record “Committed To A Bright Future” would arrive on June 21st through their own Razor To Wrist label.

Throughout their career the band signed with several different labels to originally release the albums, some of which have gone defunct, while other deals appear to have been less favorable. In turn, to get their music on streaming services and regain some control of their songs, the band decided to revisit the records.

They commented of that earlier this week:

“We are very proud to have accomplished our goal of completely re-claiming the rights to our old albums from Spitfire, Artemis and Rotten Records (except for Adultery – which will never be touched). It has taken a while and we’ve certainly gotten a lot of questions and criticism, and that’s ok.

The reason that we made new versions of all of these albums was so we could put them on streaming sites, and make them available to all. If people like what we do and want to buy a shirt, or share our music with a friend that’s all we can ask for.

The new version of Committed was a blast to make and we think fans of the original will love it, and maybe these new versions will reach some new folks who might want to be a part of the island of misfit toys.” - The Prp

Odds and ends collections are always strange to review. You really can't praise or bash them for their coherence or lack thereof. They reduce reviewing to its most basic concept: Are most of the songs good?

In the case of Dog Fashion Disco's "Beating a dead horse, to death ... again," the answer is yes, most of the songs are good — so good, in fact, that many of them will appeal to people who've never heard of this band, which formally ended in 2007.

It's difficult to accurately pin down just what Dog Fashion Disco's sound is, other than to say that the influence of genre-busting bands like Faith No More and Mr. Bungle is definitely felt here. You could argue that a track like "Baby Satan," which opens this disc, is a "mostly metal" track, but those elements combine with gothic vocals and keyboards to great effect.

Founder (and only constant member) Todd Smith sounds a bit like Mike Patton, mixed with some hardcore screaming, on many of the album's first tracks, especially "Gardenia," which mixes loud guitars and piano in some intriguing ways.

"Devil's Wife" reminds me more of U2 than any metal act out there, with its Edge-style guitars. It's pop rock at its twisted best, as is the Foo Fighters-ish "Barely Breathing."

What would a set like this be without a track from a movie sountrack? Unfortunately, "Satan's March," from "Dominion: A Prequel To The Exorcist," is just your average end-credits-crawl song, and despite a few creepy atmospherics, it doesn't add much to the collection — except for completion. Next up is a cover from a tribute album — this one, a version of the Melvins' "Anaconda." It's pretty weak as well.

Then there are some tracks recorded live in a radio studio, the best of which is "Desert Grave," with Smith doing his best Johnny Cash impression over a country groove, complete with player-piano-style keyboards. It's a real blast.

The last two tracks, "Turning Gay," and "Hank Steel The Real Queer Cowboy," are the kinds of "joke tracks" that often appear on collections like this. "Turning Gay" is the more amusing of the two, with Smith going into power ballad mode. "Hank Steel The Real Queer Cowboy" does the whole "Brokeback" parody thing that was done better by The Reverend Horton Heat on "Cowboy Love." These aren't the "best-of" kinds of songs you'd put on albums anyway.

Still, for an odds and ends collection, this album's not bad. Dog Fashion Disco fans ought to get this one to complete their collections, and fans of genre-busting metal will probably enjoy most of the songs.

Highs: The country song "Desert Grave," the U2-ish "Devil's Wife" and the mostly-metal opener "Baby Satan."

Lows: "Satan's March" and "Anaconda" are weak, as is the country parody "Hank Steel The Real Queer Cowboy."

Bottom line: If you're looking to mix metal with jazz, country and other genres, here's a good way to do it. - Metal Underground

I remember I got this album shipped from the US a year ago and I acted like a child that gets his long-awaited Christmas present. I broke into a kind of euphoria and was shouting “Igeeeen!” (“Yeeess!” in Hungarian) to the every corner of my room. I waited around two weeks for my first jewel-cased avantgarde/experimental treasure. Anyway, I knew all the songs already in December when I discovered this band. I hit on “Download” and instantly got addicted. Since I don’t buy music albums without listening to it before, I just did it later when I was sure about its value. Too bad that two weeks afterwards I found them broke up, disbanded after releasing previously 5 studio full-lengths.

With the CD a little piece of paper “teaser” came and said:

“Lock Quentin Tarantino, Charles Bukowski and Humphrey Bogart in a room with guitars and a few bottles of Absinthe and what you would find closely resembles the very record you are now holding…”

It made me smile indeed. I was thinking about what this albums intends to be with a kind of teaser like this. And I came to the conclusion that it will be aggressive, bloody and filled with sexuality. I was right – but just partly, it isn’t just that.

When I wrapped it out, my eyes got stuck on the cover. The reason was its drawing, even comics-like quality with a text saying “What’s the little sin under the covers?” At that time I didn’t understand what it meant, but after having listened to the album I realized the thing. There was another one situated directly past the Parental Advisory warning: “In seductive color for mature audiences only”. A reference to violent or pornographic films. And wait! All the band members’ names are on the bottom of the front cover, each put after the other one, last names in capitals. Movieee! And yeah, don’t forget that there are a bunch of typical noir characters on the front: a private detective, bitches, a member of the Mafia. The back of the cover shows a promo picture which I found very expressive with a kind of retro-feeling. On the other hand the booklet is not a “big thing” except for the comics’ part in it illustrating a few songs, Desert Grave for instance. The CD itself is dressed into the plain silver-metal standard with flower motives.
Let’s listen to it finally!

This very album contains thirteen songs and 13 can be seen as the famous superstitious thingy originating from the fairy tales – but who knows? Anyway. The album is a conceptual one which takes the listener on a journey through one man’s self destruction.

The CD starts with a quiet piano solo and whispering speech asking “Who’s that voice in your head?”. I suppose all of you know what’s up now. I will go on tracks from tracks – up to a point because the music builds up itself logically.

The bloody massacre in experimental hardcore robe starts off with the slogan of No Mercy! As Miss Rose Covington is burning alive while hanging on a cross where the power of Christ compels her we notice a breakdown in music and then a continuous fastening with electronics – this was the point I started to love this track. After the marching of unholy ghosts in morbid rhythm and chanting mantras of the dead under a bloody moon – comes the third song.

The third is Silent Film which eventually a video was shot for featuring half naked satanic women, ordained priests in the Church of Satan, whiskey and gambling. Watching the video and listening to the music a feeling of retro attacks you causing happy and nostalgic moments. However to analyze the music as well; The jazzy saxophone and puppet-show-like weird vocals only comes just now inviting you for a ride back to the eighties.

Apart from violence and retro there are various themes on this album. For instance; depression, insanity and suicide. Sweet Insanity guides you into the mind of a killer. In this song you will definitely notice the colorful voice of vocalist and guitarist Todd Smith who actually sings, not screams as he did before. He is a hell of a talented vocalist and composer – the mastermind of DFD indeed.

Chapter Five: Desert Grave. Haha, I got this instantly: the Tarantino-reference track with the smell of the dry desert and the hot shining of the sun. I even claim that Todd is imitating the voice of Michael Madsen who played the impressive role of Budd in the controversial film “Kill Bill“. Trombones, banjo and a piece of country, yeeha!

In my vision Moonlight City Drive invites you for a killing journey into the neon-flash advertisements’ world, Las Vegas. Feel the air hitting your face while sitting in a cabriolet Cadillac. The music evolves into a jazzier, and electronic type and Todd narrates, sings, screams and whispers as well.

Private Eye is the lounge-like Bogart adaptation, nothing to say about it. Those who know Bogart’s character and personality will truly love this one along with the song’s funny ending which makes me smile every time. In the followings we are voyeurs of depression and suicide attempts along with a roadside hitchhiker killing.

Important to point out that there are two completely different songs with dissonant violin melodies providing a sinister atmosphere which freaks out on the first listening. One of them; Dead Virgins Don’t Sing features weird choirs, noisy electronics, dictator-like speech, and crowd chanting and shouting. One cannot find the lyrics in the booklet. However, it gives visions of the same identity of Jesus, Satan and a dictator. The album reaches its Avantgardist peak with this song and it’s dark. Really dark.

To sum up Dog Fashion Disco’s last and in my opinion best album, I have to say that this material is highly recommended for those who are beginners in Avantgarde music and/or like jazz and metal put together. It doesn’t mean that it’s not for advanced individuals but I think it’s better to start with something which is not “that avantgarde” preventing from drowning in deep water.
Dog Fashion Disco died along with the December of 2006 leaving 6 great albums for us to enjoy and appreciate experimentalism.

~ For those who want to enjoy more of Todd I recommend his new band named Polkadot Cadaver which has similarities with DFD. ~

-revon - Avant-garde Metal

Out of Maryland, Rockville to be precise, came an experimental Rock band called Dog Fashion Disco (or DFD for short). DFD was formed in 1995 by Todd Smith, Greg Combs and John Ensminger, who were all high school buddies. Before releasing any material as DFD, they were first known as Hug The Retard. The band changed it because they felt it would be offensive to people. Their first two albums, Erotic Massage (1997) and Experiments in Alchemy (1998) were independently recorded. Dog Fashion Disco then signed to Outerloop Records and released the album The Embryo’s in Bloom all within a year. Late in 1998, Jeff Siegel joined the band as the keyboard player, replacing Quigley, and from that point on would be the most stable lineup the band had. With the exposure after playing on USA Network’s FarmClub in 2000, it led DFD to signing with Spitfire Records and saw much more popularity and distribution in their music. With doing so, Serj Tankian, frontman for System of a Down, provided vocals for the track “Mushroom Cult” on their Anarchists of Good Taste (2001) album. Not long after, they set out on their UK tour in support of their album, after finishing their first music video for the song “Leper Friend.” Up until they disbanded in 2007, they released eight albums, two EP’s, and a music video. As of October 2013, they announced they would be getting back together and releasing a new album in July of the following year titled Sweet Nothings. Their plans includes keeping the lineup together, with exception of Siegel who would be replaced by Tim Swanson on the keyboard.

Sweet Nothings begins with a track named “Greta”; sounding heavily influenced with a Big Band and Jazz twist on the grungy Metal-like lyrics, but manages to blend them together impeccably. “War Party” and “Scarlett Fever” both escalade in a boisterous manor as they play on. The intriguing piano intro opens into a transcendence of Rock, Electronic and Jazz feelings all wrapped up into one in “Scarlett Fever”. As the album continues into “Approach and Recede” and “Down the Rabbit Hole,” you replace more of the Jazz with a splash of Rock feel with the sound of Hard Rock with hints of the Jazz percussions.”Struck By Lightning” opens with amazing organ tunes followed with the sounds of classic Surfer Rock riffs and an Electronic-like reggae beat with a heavy sounding chorus giving way to the mellow sounds of the track “Sweet Nothings.” Following with Metal blasts and a sax in “Pale Horse,” all simmers down at “The End of the Road”; a mellow melodic beginning to end, with never failing bursts of metal to conclude this musical roller-coaster of an album.

Through the independent struggles of personal loans to finance albums and different labels, they have done it again! After a seven year hiatus the band has not lost a step and give their dedicated fans some great new material to dig into. Get ready for a joyride through the most magical and twisted places that fans can imagine. CrypticRock gives Dog Fashion Disco’s Sweet Nothings 3.5 out of 5 stars. - Cryptic Rock

Self-proclaimed “Circus Metal” group, Dog Fashion Disco has a knack for creating the oddest, yet catchiest tunes they can muster. Their ringleader, Todd Smith, is a master of his craft. Currently, including DFD, he is involved in 4 musical ventures: Polka Dot Cadaver, Knives Out, Dog Fashion Disco and his solo project, El-Creepo. This group combines many different musical styles from metal to jazz and everything in between to create what can only be described as the more “bizarre” side of the musical spectrum. Sweet Nothings, the latest chapter in their twisted musical saga, takes the best of the best and throws it all into one hour-long roller-coaster ride. You’ll get anything from jazz odysseys and gritty rock to blues/piano solos and seemingly out-of-place organs. This is all part of the theatrical elements that these guys tend to throw out to the listener. Why is this appealing? Why should you find yourself embracing the Disco? Well, let’s dive in, shall we?

In essence, I believe the obscure music that this band puts out is the reason why they are so popular. After all, how many bands do you know that can go from rock to metal, jazz to blues and ska to orchestral… all in one song? Not only that but they can create a song that sounds like it would fit perfectly into the 70s disco era all the way up to current trends. If you listen closely, the lyrics are almost always comical, but with a prevailing theme.. showing that these guys don’t take themselves too seriously and they don’t want you to either. They’re here to make sure you have a good time listening to their music, they’ve made that their calling card and they intend to make sure they live up to it! I haven’t had the chance to see any of Smith’s bands in action live, sadly, but I’ve got a good friend by the name of Mark Gossard who has and he has assured me… you won’t find a more fun/interactive show experience. Recently just returning from a tour that included Victory Records band, The Bunny The Bear and comedy rockers, Psychostick I can only imagine what their live performance is like.

There are highlights in every track that make them memorable but most notable are “Doctor’s Orders” and the 2 closing tracks “End of the Road”, clocking in at 7:29 and the final track “Thank You” which clocks in at a staggering 9:10. The average run-time for a track is around the 4 minute mark and, oftentimes, we find ourselves either enjoying the track halfway through or turning it off at that point. Am I right? Both of these tracks make sure to keep your interest, switching up genres when you least expect it and really throwing that interesting DFD flavor all over the place. I can honestly say that, prior to hearing this album, I hadn’t heard of DFD. I HAD, however, heard of Smith’s other projects and had actually listened to them in the past. DFD is the culmination of what makes all of these other projects so great and, if he’s most proud of DFD particularly, he can probably now say that Sweet Nothings is the band’s crowning achievement.

If you’re looking for something new, different and overall enjoyable, look no further! Let DFD whisper their Sweet Nothings in your ear. Sit back, relax and prepare for the most interesting aural experience you will have witnessed to this day. Pick up your copy of Sweet Nothings, out on Rotten Records now! - New Transcendence

Back in 1997, DFD released their debut album, Erotic Massage. Sure, it sounded like it was recorded in a bedroom and the overall mix was pretty ropey, but what it clearly had were 12 songs with quality at their core, mixing heavy guitar riffs with an overly healthy dose of saxophone and various other instruments to create a varied sound that ranged from metal to funk via reggae and jazz and a whole melting pot of other influences. Fast forward 20 years, and the Hardest Working Guys In Rock(tm) decided to go into the studio to completely re-record that diamond in the rough, many would say seminal album bursting with (largely) unfulfilled potential. The result is, perhaps not unsurprisingly, monumental.

With the original album in mind, the first thing that hits with EM2 is just how phenomenal the sound is. Christian Dance Song explodes out of the speakers with its initial riff seamlessly segueing into bouncing funk saxophone, then G. Eye Joe tears the speakers apart with its thundering drumkit and boneshaking bass line, giving the term boombastic a whole new definition. DFD's 2 albums since reforming have sounded great, but EM2 sounds properly revelatory. The jazzy swing of Wait is next, making the heart sing, before the first massive change from 1997, Anacostia.

While most of the songs on EM2 show signs of tweakage compared to their original selves - some minor, some major - there are three in particular that have been completely rewritten. As Lost In Anacostia was (to these simple ears) the best track on EM1997, a little trepidation was felt upon first airing of the redux. Oh ye of little faith. Underpinned with a piano line that quite simply lifts the soul, Todd Smith rages beautifully against the idiocy of Trump (amongst others) and their policies of Orwellian subversive opression "Be careful what you say/We hear everything". A fantastic song rewritten as a fantastic song. China White shows off the band's punk credentials with subtle synth sounds and singalong lyrics, and Communion rocks out another religion-baiting line ("On your knees you beg and plead/ For mercy from your imaginary friend") whilst mixing in ska-funk via smooth horn sections, before Oral Spunk hits.

Aaah, Oral Spunk. Songs like Oral Spunk simply don't come along very often, and should purely be treasured. The lead sax riff, nailed down by Jasan Stepp's complemetarily heavy guitar, creates some kind of fists-in-the-air, smile-on-the-face boombastic (still) party rock sound, while the lyrics tend towards the disturbed and/or depraved: "One hand choking/And one hand stroking/ Unzip my lips/ And let me swallow you whole". Shortly, the music turns towards the lyrics, becoming darker and heavier with wild saxophone squeals and squawks going off to somehow remind the listener of proper old skool jazz influences, and Todd screaming "Eeny Meanie miny moe/ F**k my throat and eat my soul". The only place to go after a behemoth like this is to soften the flow, and the next totally rewritten song Lucifer (Vernal Equinox) does just that. Lookin' for Love (Still Lookin') keeps the downtempo vibe going, being a perfect song for the last orders at the bar scenario, when everyone is cheery and merry and all friends, and all that's required is that one song to finish the night off perfectly.

From this nosebleeding height, most albums would find it difficult to play out. Not so here. Dis-Content puts itself forward as the answer to the perenially asked (apparently) question "What song sums up DFD best?" by being all things to all people, yet entirely its own beast: Heavy, swingy, jazzy, funky, ska: "That which doesn't kill you/ Will most likely try again", "Satan spends and Jesus saves", "We are an alien experiment gone so completely wrong" make it also probably the most fun to quote on the whole album. Penultimate track Hypnotic Encounter, the third totally new version, is also very aptly named. A hypnotically swirling, enchanting track with haunting keys before the final knockout punch of Corpse Is A Corpse. Probably DFD's most omnipresent track, having also had versions on Embryo's In Bloom and Anarchists of Good Taste, however it has never sounded so punchy and insistent. The off-kilter guitar riff sounds urgent and distinctive, and Todd's more harsh vocals have developed greatly since the early days, giving added weight to the screams of "Decompose you maggot". Ending an album like this with your heaviest song is an impressive decision.

Although Erotic Massage shows DFD coming full circle, closing the loop started back in 1997, the overall feeling generated by this album is not completion or fulfillment, but that of a band brimming with a whole new lust for life, a burning desire to set a match under the heavy music scene just to watch it burn. This is the evolution of DFD, the start of a whole new chapter. Strap in, the ride is only going to get more thrilling. - Sputnik Music

Traveling from Spitfire to Artemis and finally finding a home on Rotten Records, Baltimore's DOG FASHION DISCO hits pay dirt on "Adultery", a concept album that continues to showcase the band's lunatic genre blend of strangely accessible hard rock, metal, punk, jazz, ska (you name it) and all-around musical boundary-pushing. But first, the concept: "Adultery" is about a seemingly normal guy in his mid-30s, burdened with a wife, kids, and a safe corporate job. He caves in to his own demons, and begins flirting with drugs, prostitutes and eventually gives in to his dark desires and sadistic and murderous lifestyle." Translation: A sordid piece of pulp fiction tailor made for DOG FASHION DISCO's psychotic aural episodes. Storytelling and the painting of images through musical expression is a prime reason why "Adultery" comes off so well. It's no wonder the band has carved out a niche for itself by scoring film music, including being chosen by director Paul Schrader ("Taxi Driver", "Raging Bull") to score the music for "Dominion: Prequel to the Exorcist".

Not that the torrid and tuneful nuggets of 2003's "Committed to a Bright Future" are conventional by any means, but "Adultery" sees the band stretching its frenetic sound (one rife with Mike Patton vicissitudes) to follow the main character's trials and tribulations. The heavier (read: aggressive, but prismatic) material, such as "The Sacrifice of Miss Rose Covington" and "The Darkest Days", is done exceptionally well, the barreling rhythms and heavy riffs coexisting with mad carnival keyboards and palpably dark tones. Though melody is no afterthought in either case, more of a balance is struck on "The Hitchhiker", which just happens to include a break in the action for lounge music. Horns, ska beats, and outright nuttiness carries the up-tempo "100 Suicides", while the swing and sing-along pep of "Moonlight City Drive" is fun and infectious.

And yet, there is so much more on offer here. Led by Todd Smith's passionate vocal performance, the album's hooky highlight is easily "Sweet Insanity". A smoother flow and catchy chorus make it a standout among the standouts. Smith's versatility is demonstrated ably on "Desert Grave", his JOHNNY CASH impression uncanny. The band pulls off the country and western delivery with aplomb, and Smith even contributes a little banjo picking. Moving into even sketchier neighborhoods, on "Dead Virgins Don't Sing" I heard what can only be described as a marriage of TOM WAITS' "Bone Machine" material with MOGWAI's aberrant escapades. The album's most cinematic moments occur during "Private Eye", beginning with classic detective narration and switching to a violent and lascivious dialogue between our anti-hero and a prostitute.

"Adultery" is anything but ear candy, requiring your undivided attention, yet not force-feeding you aimless and esoteric compositional excursions. Once again, DOG FASHION DISCO is genre-less and proud of it. If you're tired of the trend-driven and the predictable, then try a little "Adultery". - Blabbermouth