The album sold over 100,000 copies within the first week of release, and debuted at number four on the Billboard 200. As aforementioned, the experimentation sometimes feels unnecessary and egregious. Poi una fanfara funerea di fiati e una ninnananna onirica di Bixler creano una melanconica atmosfera che ad un tratto detona in un crescendo melodrammatico. The live album , was released later the same year. Quasi-thrash drumming and lugubrious distorted organ pulses fuel this four-minute manifesto. The song is more mid tempo which also helps.
It isn't as punkish as Deloused, but does go a little bit more towards the energetic punkish vein. The good things about this album: 1. I told you this was the dark side of religion. Is it a little bit entropic? The Mars Volta albums Octahedron is the stunning new album from The Mars Volta. I also really like the intro and outro tracks. There are some interesting sounds played on the instruments along with more traditional styles and some of the vocals are treated and some are not.
The final incredibly noteworthy song is Day of the Baphomets, which is not only my favourite Mars Volta song, but my favourite song of all time, with a perfect blend of technicality with tone and even being fun in the process. After three minutes it slows down into a sleepy cha-cha intermezzo. The music in this track is quite dense and without any help, can make you think that you will never understand it. It means unbeliever, or it is also the name of a Nigerian drum. Despite all of the elements being here, the exceptional musicality that is toned down in order to fit the tone, the great interplay between instruments, a mostly excellent sense of melody, and excellent production, the compositions themselves are a mixed bag. After this, we return to form with 'Day of the Baphomets' which is about a group of cult members invading the homes of Christians with the hope of getting them to realize their way of life is wrong.
The final section manages to further improve upon this by becoming much heavier and introducing a killer riff. He isn't going crazy, but it's all about his tone and subtlety! I love how after an extremely groovy first half, with a standard structure, the second half which somewhat reminds me of King Crimson's 21st Century Schizoid Man in terms of the bassline goes completely nuts, with Cedric screaming gibberish and wailing while the sounds in the background produce a wall of noise that adds to the overall chaos, climaxing in the last 30 seconds in a way that never fails to blow me away. On June 23, 2009, the Mars Volta released , which is the band's first album through. Along with this, I must say that the drumming in general is nowhere near up to the regular standard for me in many songs, as I feel like the drums are much more messily played than both Jon Theodore and Thomas Pridgen. Frances would be higher up if it wasn't for the pointless ambiance in most of the songs. The band wanted the feeling of the vocals being similar to 'speaking in tongues' as this mentally ill woman was doing during her torture, which explain the tone of the lyrics and the way they don't make a lot of sense toward the middle of the song.
The closest comparison I can think of that many will be familiar with would be 'Tales from Topographic Oceans' by 'Yes' which is also their hardest album to access. However, Cedric incorporated names and themes from the messages from the Ouija board into the lyrics. Anyway, I'll try and compile the list now. Despite the extreme nature of the album as a whole, I do appreciate that after Amputechture, an album filled to the brim with excess in songwriting which to be fair, I loved , the songwriting and structure for the most part has been cleaned up, with less sections dedicated to atmosphere and jamming, and more time bombarding the listener with noise, along with keeping the songs shorter, with only 3 of the 12 going above 8 minutes, creating an album that feels more concise, despite it being approximately the same length as Amputechture and Frances the Mute. These two songs really highlight the duality of The Mars Volta, being able to create beautiful melodies while also being able to create nightmarish tracks that give off a real sense of discomfort.
Cavalettas is the longest song on the album, and definitely one that took a lot of time to grow on me , due to the way it is written being incredibly odd. Viscera Eyes, while being a long song, is also a surprisingly straightforward one, having an extremely defined, groovy riff backed up with an extremely tasteful brass section, making for a song that is't all that difficult to listen to while still being adequately interesting, especially once the change of pace occurs. Most consistent overall tone, album wise imo. This narrative juggernaut collapses into pure instrumental and vocal agony, as a symphonic crescendo parallels passionate soul-jazz-blues vocals. But like the best progressive rock, you have to listen to it several times before it penetrates and grows on you, then you can pick out the themes and melodies much better. Songs like 'Since We've Been Wrong' and 'With Twilight as My Guide' demonstrate what works about this album very well, having vocal melodies which are beautiful, using each instrument effectively to add impact to particular moments, most notably when the drums kick in near the end of 'Since We've Been Wrong'.
This concept album was produced by and is based on the death of artist Julio Venegas, who committed suicide in 1996. I put reviewing this album off for a week or two due to how conflicted my thoughts on it were, but in the end, this has genuinely become my favourite Mars Volta album. But i'm out of touch. Pure punk rage permeates the most personal tracks, such as Sleepwalk Capsules and Cosmonaut, barely touched by melodies that, duely developed would be the envy of Green Day. Unpredictable dynamic and frequent tempo shifts for proof check the dance beat and the lambada break in Enfilade enhance the listening experience, while the band also displays good theatrical skills with the lengthy psychodramas Invalid Litter Dept and Quarantined and even a ballad, Non-zero Possibility.
For a few minutes only disjointed fragments of sound emerge from the fog. The band named the board 'The Soothsayer'. Ma il contesto continua a mutare, passando dal sussurro sensuale al vibrafono caraibico. Lo schema narrativo collassa in una pura agonia canora e strumentale, intanto che un crescendo strumentale incalza parallelo a un cantato soul-jazz-blues. It is an excellent album to have around, but it isn't their best, mostly because, strangely enough, it is so inaccessible. Ci sono idee a sufficienza per dieci album, in pezzi brevi e spasmodici come il singolo Wax Simulacra, Aberinkula, Conjugal Burns.
Il rappato di Pattern Against User suona più come una della tirate di Jello Biafra. Poi riprende il tumulto con un pesante, enfatico staccato. Ouroborous returns to the purely fast paced nature of earlier songs from the album, while also including some of the best drum and vocal work on the album, another definite highlight. Despite this further experimentation and the more abrasive nature of the music, there is a considerable amount of unity and cohesion between the tracks, having them all share at least some basic elements of latin music, whether it be the spanish lyrics in Cygnus. At first I was disappointed, but came to love it.