After being mesmerized and I still am by De-Loused, I was anxiously awaiting the follow up. The only lacking that bothers me is the excessive sound effects and distortions throughout the album. This goes against the whole idea of Jazz - spontaneous interaction through listening to one another. The album, though filled with fantastic, tight and complex music does tend to drag, as the ambient parts are for the most parts fairly un-interesting. As you keep listening to it, time gradually becomes insignificant and when that stage is reached you can truly appreciate the album because it will start to make sense, so you're focusing less on the time and more on the music. Angular guitar 6 minutes in. Check the Mars Volta site for the official track listing to see that it is, in fact, spelled 'Gemini.
There is a half hour magnum opus at the end that detours into many directions and never really settles on a particular melody for long. However the key to this album which holds it together is not Cedric's unique vocals, Omar's exquisite guitar playing or John's mental drumming - but it's the infectious baselines which set the tone for the whole album. And now - this album! It is risky business attempting such a song as this, but they nailed it! The same track ends with a long outro which in result doesn't make this much of a composition. The opaque surrealism of the cover photography, instantly recognizable to veteran Progheads as the work of Hipgnosis, suggests a concept album of sorts. This article, and the first section in particular, need much clarification. It made me happy seeing it made me happy, the video itself is quite disturbing.
And it must be heard to be believed. At first, I would have given this a very high 3, but it has warmed up to me when I got past the noise and focused on when I was hearing the 'real' music. I like the drumming too a minute later. Forward and onward with no fear! Anyone who likes a little bit of aggression behind their music will get a kick and a half out of this. Very nice salsa-influenced chorus in this track. In between the heavier sections, there are quiet, sinister sounding bits, and during the last time around, Bixler-Zavala's voice is laden with shadowy effects.
What it makes up for in length it makes up for in impact, being one of the most important songs concept wise. Since there are only 5 songs. Posted Wednesday, March 26, 2008 Review 165016 So who is Mars Volta's biggest influence??? This track takes a heavy hit in my point of view because of the three minutes of noise that just ruins the whole song. Marcel, Omar's brother replaces Jeremy and seems to fit right into the band. Frances the mute is a concept album in the essence, and not easily interpreted. Part V has a psychedelic vibe, this is trippy stuff. Cedric once again does the entirety of the vocal and lyrical work, a great job again.
But unfortunately it contains as well in the first 3 to 4 tracks too many filling parts with redundant lengthy electronic noodlings or noise experiments which are disturbing severely the continuous flow and an enjoyable listen. Vismund Cygnus begins with Sarcophgi and it's gently-strummed, melodic acoustic guitar before exploding into a vicious metal funk hybrid. L'via L'viaquez L'via L'viaquez, Who is Cygnus' aunt, L'via being her first name. But let's start with the start, so we can end with the end sounds un-Freudian, doesn't it? I'd die to hear it! There have been some rather negative opinions pointed towards Frances the Mute that have been flung around the internet over the last year or so, many of them coming from my mouth or. Miranda the Ghost: A nice calming, atmospheric song to prepare you for the finale, Cassandra Gemini. An incredible masterpiece that's well worth getting. Juan Alderette takes over on the bass, Flea from the Red Hot Chili Peppers contributes some excellent trumpet work! Anyone else in their growing tribe of fans could tell you more about the band than me.
The major talking point among listeners to this album are the ambient sections, slabs of sounds that seem to go nowhere. They have a unique pacing and style to them which grabs the listener with big builds and hooks. Full of intense energy, inventiveness, and a whole slew of other creative aspects this is a very good album, but I cannot stress how much that noise, pointless and jarring at times, really alienates the good parts of this album. This is also an incredible band's best album. It is a masterpiece of progressive music, completely.
Secondly, when the constituent parts are looked at more closely, many of them are actually just rock tracks which have been bound together, or extended through repetition. There is fascinating artwork throughout the booklet. Good in most prog songs. Eerie sounds 4 minutes in. I'm not going to say any more about it. Once again I find myself disagreeing with most reviewers on this title, both with those who love it and those who hate it. The whole section sounds cut and spliced back together in a sloppy manner, which no doubt was the intention.
The main flaw of this track is as post rock goes, it takes forever to develop and even longer to die. One thing I really like about this album is the concept that it is never ending, it can just loop forever because the end of the last track Cassandra, turns into the intro for Cygnus. Much of the lyrics are in Spanish. There are no song breaks, making the track listing more of an outline. Syd Barrett's all over what we do in The Mars Volta.
The rest of the song switches a salsa- like groove and a hard rock section back and forth, until there's a good salsa jam, which is ended by distorted vocals. Then the music explodes like a blast from an overextended pressure cooker. A confirmation message has been sent to your email address. The lengthy instrumental section in the middle features brass instruments and spacey noises, and the band reenters very casually, repeating a wonderful riff. You must get it elsewhere, and you must get it in order to have heard the entire album. I started enjoying the album. Even if the ambient parts aren't to your taste, you still have an hour of power to listen to.
Like the first track, it alters dynamics well enough to keep interest. Its constant shifts mean the record is claustrophobic and even dizzying; it demands perseverance. The lavishly illustrated booklet gives a few hints away as to what this puzzle is all about, although it matters not. From the half-hour epic Cassandra to the catchy, almost radio-friendly The Widow; from Latin, jazz, and traces of funk and hardcore, FtM. Best out of the 5.