The Mars Volta
Often groups break into factions. Once that happens they're done. But those clicks, with a shared vision, can take a life of their own. A case in point: At The Drive-In was a promising band that saw members depart to form Sparta. The other side of that equation, Cedric Bixler-Zavala and Omar Rodriguez-Lopez, became The Mars Volta.
The two enlisted Ikey Owens and Jeremy Ward for their debut EP "Tremulant" in '02. An energetic live show built word-of-mouth buzz. But not all was smooth sailing. Ward died of an apparent drug overdose a year later (replaced by Jon Theodore). Still, the group opened for the Red Hot Chili Peppers on European dates and recorded their full-length "De-Loused In The Comatorium." '05 saw the release of "Frances The Mute." Later that year, the live, "Scab Dates," which culled performances from '03 - '05, dropped.
"Amputechture," the group's third studio effort, marked the first time the band created an album without a single unifying narrative ("De-Loused" dealt with the after-life, or at least after death, while "Frances" delved into the characters found in a misplaced diary). The '06 set was recorded in L.A., El Paso and Melbourne, Australia, with Red Hot Chili Pepper guitarist John Frusciante playing on several tracks.
Frusciante appeared again on the '07 Rodriguez-Lopez solo album, "Se Dice Bisonte, No Bufalo." Also, The Mars Volta lost Theodore. "It was long overdue and unquestionably the best thing for everyone involved," the drummer wrote in a statement. "We had a great run of things, made some decent records, blew it up for a minute, and had some really great times." Thomas Pridgen was selected to take over. "He's a f**king monster," said Rodriguez-Lopez. "I was told he was like Jon, but on coke. He's the perfect fit." But not for long.
Dabbling in the occult rarely works out. Maybe there is something to it or just a coincidence, but either way, stuff happens. The Mars Volta's experience began in '06 while on tour with the Red Hot Chili Peppers. In Jerusalem, Rodriguez-Lopez purchased an archaic Ouija-type talking board as a gift for Bixler-Zavala. But soon the band was playing with the board, dubbed "The Soothsayer," following almost every show. Three people appeared (through the board) in a single form, referred to as "Goliath," who told stories and made demands. Then things went sideways.
Drummer Deantoni Parks quit mid-tour due to financial troubles and Bixler-Zavala required foot surgery because of the shoes he was wearing. Back in the studio, the band's bad luck continued. Audio tracks often just disappeared from computer drives; the album's engineer suffered a nervous breakdown and had to bail - leaving no notes on where anything was (finished tracks, alternate takes and mixes); and Rodriguez-Lopez's home studio suffered power outages before it flooded. Enough was enough. Rodriguez-Lopez eventually took "The Soothsayer" and buried it at an undisclosed location. Band members were asked not to speak of it during the remainder of the album's production.
The appropriately named, "Bedlam In Goliath," released in early '08, contained "Wax Simulacra," the album's first single.
In a move to appeal to serious Mars Volta fans, the full "Bedlam In Goliath" album, the "Wax Simulacra" video and preloaded album artwork was available on a USB drive with a memory stick encased in a wooden Ouija board planchette. On the 29th (the album was released on January 29th) of each month through '08 fans got monthly content updates including b-sides, previously unreleased songs, live videos and the Goliath The Soothsayer video game.
A Mars Volta fan once wrote that if you weren't impressed by the group in the first twenty seconds, walk away and don't return. Even though Prog Rock is an acquired taste, the fan has a point. Musical tangents, discordant sounds and riffs bludgeoned until they fall off the table (also a Heavy Metal trait) are the group's calling card. Either you get it or you don't.
The Mars Volta owes a lot to the "throw it all in the pot, stir it up and see what happens" mentality. There are refreshingly energetic Latin rhythms but they are countered by ambient Jazz and soundscapes. The Mars Volta succeeds when they tread on latter day Rush turf with songs "Pisacis" and "Multiple Spouse Wounds" from "Frances The Mute." But just as often they create a confused, and confusing, mish-mash that fails to gel.
Despite the mystic connotations associated with "Bedlam In Goliath" the bottom line is simple. When the Mars Volta rip into a song they do all right. But when they indulge their theatric inclinations it's tough going as they seemingly celebrate Prog Rock's worst tendencies. Bixler-Zavala's vocals sting when the song is moving forward. Find him in full-on "drama" mode and it's a bit tedious.
"Metatron," the set's best track, "Goliath," Ouroborous" and the surprising mid-tempo "Agadez" have staying power.
All the Mars Volta trademarks are in place on "Amputechture," including extended tracks and overlong guitar noodlings. Pulsating and urgent sonic excursions alternate with airy, dissident rumblings. "Vermicide" actually sounds like a song in parts while "Viscera Eyes" is good in a Yes way. But the bulk of this album, including "Tettagtammaton" and "Day Of The Baphomets," are adventures in noise. "Meccamputechture" is ruined by high pitched vocals that are at least four octaves beyond Getty Lee. "Asilos Magdalena" is beautiful but why buy an album for a Latin flavored acoustic guitar song sung in Spanish?
"De-Loused In The Comatorium," a thematic work built around suicide and the world between the act and eternity, is a dreary set piece.