There really isn’t any logistics to DGD’s writing, more so that it is conceived around what they have learned from the last record and how can they grow and branch out from there with freely experimenting. What is so interesting about this title, aside from the grisly definition is that it fits so perfectly with their evolution.
In other words, it is a nicer way of saying Eugenics. So what exactly is Artificial Selection in terms of definition? It is defined by selecting desired traits to improve perfection in a genetically altered creation.
We had Instant Gratification which is already a widely recognized phrase, so we wanted to put something similar out there.” It was mainly something that could describe the album art and was kind of like a catchy phrase. So what can we expect from this album? First we need to look at the title: “I guess you can say that yes, retroactively Artificial Selection was what we did when we chose pieces to record and what made it onto the album.” Explained, Tilian. Then Matt and Will always enjoyed tracking with Crummett so it just worked out that way.” explained the vocalist. “I think that Jon had a good experience recording vocals with Erik Ron when we did the punk goes pop song, that we recorded with him and I liked working with Kris Crummet and with Erik Ron, so I didn’t have a preference! I just went with the one that Jon preferred and Tim recorded with Dryw Owens when we did “Summertime Gladness” single and the bass turned out really well, so he went with him. Now, this would seem like a recipe for convoluted opinions and too many cooks in one kitchen, but according to Tilian Pearson, this turned out to be the perfect approach to such an offbeat record.
Going against the norm of having one producer and one full band collaboration, DGD took the advantage of opening the door to not one, but three producers, including Erik Ron, Kris Crummett and Dryw Owens. While the band has shifted into a powerhouse, the collaboration from their guests and multiple producers also presented itself as an influence. Their moments alone also stand out and help mold Artificial Selection into the beast that it is with the helping hands of Zachary Garren (Strawberry Girls), Martin Bianchini (Secret Band), Louie Baltazar, Kurt Travis (formerly of DGD), Andrew Wells (Eidola) and Jessica Esposito. To help round out such an impressive album, some beautiful and well crafted touches were provided from their guest appearances. Whether it is Tilian’s vocal range, Tim’s impressive bass work, Matt’s furious whipping around on his drum kit or Jon Mess’ thundering roars. Aside from Will’s orchestration and musical contribution, every member including Will within this record stands out. Personally, one likes to think of Will as a mad scientist in his own studio, creating these songs from the depths of his intricate and always running consciousness. Will Swan time and time again proves how masterful he is not only at guitar play and writing, but rather his open mindedness that trancendes him to compose melodies that are simultaneously explosive, tender yet grisly pieces to grace their own concoction of a genre, dubbed Swancore. With each album, Tim, Will, Tilian, Matt and Jon find their footing and take off running into a vast dimension of their undeniable talent and ear for delicious melodies. In fact, it is so far from the truth that you would even think that this is the band’s sophomore album with how forceful the record presents itself from the very first track, “Son of Robot.”Įvery single member of this band has grown exponentially, no matter how long their tenure. This is not the case with Dance Gavin Dance and their 8 th studio album, Artificial Selection.
Perhaps there is even a sense of loss in their work and the smell of defeat weighs a heavy presence over their latest work. There comes a moment of understanding when a band has been through lineup changes throughout their career with a tenure of over 10 years, the band eventually reaches a sort of stagnation.