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Archive for February, 2007

Third album by The Mars Volta and surely it would be their more controversial if it wasn’t released after Frances the Mute.

Omar and Cedric are fully immersed into progressive rock, jazz and latin stuff.

Amputechture, as TMV trademark, is completely different from the previous albums. It has religion as theme, but of course you won’t find anything obvious in music or lyrics.

The audio production is way better than Frances… but it still can be improved. The drums are lost behind the guitar mass. (which eventually bothers me, you know, I love Omar’s playing but it must have limits).
And everybody knows how essential the drummer Jon Theodore is/was to TMV – Yes, this album marks the firing of Theodore, a big surprise to the fans.

The dynamism of the songs is just bliss. Rhythm, tempo and mood changes flow perfectly in such a way that long tracks sound like a mix of short ones, but superbly cohesive.

Tetragrammaton, a progressive ode to guitars. Viscera Eyes, a latin/hardrock anthem and one of the best vocal performances I’ve heard of Cedric. Day of the Baphomets, an absurd aggressive rock assault.
These three songs are the album core in my opinion, but there are still Meccamputechture and Asilos Magalena, both hot tracks.

The latin elements are stronger than ever, with Asilos Magdalena and Viscera Eyes, featuring most spanish lyrics in addition to musical characteristics.

There are lots of influences hidden along the album, but I’ll cite Mahavishnu Orchestra and free jazz masters like Ornette Coleman as the more notable names.

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Second album by Omar and Cedric.

This time they’ve gone deeper into Progressive Rock, idiosincrasy and obtuseness.

Again a conceptual album, and it sounds to me somehow more “urban”.

The instrumental is far more elaborated. And some tracks like Cygnus… Vismund Cygnus and Cassandra Geminni features full progressive rock characteristics.

Almost all tracks are epics but The Widow, a very accessible hardrock ballad.

The audio mix is confuse and obscure sometimes (Cygnus… Vismund Cygnus, mainly) due to Omar’s first time producing a TMV album. And for the first time Cedric sings in spanish.

Frances the Mute definetely marks the end of hardcore influences on TMV. But it’s an instantly classic.

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The Mars Volta - De-Loused in the Comatorium

Impressive kick off album by the two guys who abandoned At the Drive-In (and consequently broke it).

ATDI was considered one of the most innovative hardcore bands of the 90’s, and all the ears related to the scene was curious about what could be this new band.

De-Loused in the Comatorium finds a perfect balance between Alternative Rock in its whole idiosincrasy and the post-hardcore in its whole fury.

The album holds a concept, but it’s still song-oriented. There’s lots of 70’s hardrock and progressive rock elements.
This side of their music certainly annoyed the hardcore fans from the past. But Omar and Cedric seem not to care about it.

Obtuse, imaginary and lisergic. Lyrics and music works perfectly.

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Good kick off album. A nice mix of various electronic music formulas, but with a breath of fresh air. (It was released in 2001 and sounds fresh until today!)

There’s a cool 70’s mood  around everything. Besides, the album has a good ambient appeal.

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Good kick off album. The sounds, textures and the production are not the best, but the melodic sense is notorious.

There are good shots like Barabas and Nr. 9.

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A satisfactory album.

It holds some good hits like Rendez-Vu, Yo-Yo, Junmp ‘n’ Shout and mainly Red Alert

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Ornette Coleman is an unquestionable name to free jazz.

Science Fiction marked his career as the balance between the old energy and the forthcoming electric experiments.

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