most challenging, entertaining and musically perfected type of music there is, and the very much alive. this band also reminds us of how good those "dinosaurs" are. of at the drive in, who were renown for their intense live shows and really grasped the concept of the word NOISE!
Cedric and Omar decided they were no longer fufilled by the music they produced in at the drive in and felt it was time to move on. deloused in the comatorium was the result of that decision. this milleniums true masterpiece.
competes with the wall, quadrophenia and scenes from a memory in terms of combining music and story. Based on the life and times of Julios Venegas. a friend of the band saw strange psychadelic images.
after awaking from the coma he then succeeds in suicide. its funny how it takes a horrific event to spark off ideas that can revolutionise minute and a half long, sets the scene for progressive rock by starting off quietly and and unclear vocals from excellent singer Cedric, exploding into the heavy guitar riffs track never ceases to amaze any listener. its not so much heavy like a death metal "Roulette Dares" is the first full out prog piece and has more time to expand atmospherically.
This song often weaves in and out of menacing guitar licks to slower vocal parts. The "exoskeletal junction at the railroad delayed" part is incredible. This track starts to fill more dreamlike and comatose as the story puts the listener into a type of coma fantasy.
There are often spacey guitar effects used in some of the songs which reminds me of something pink floyd might tackle but especially in the style of "moonchild" by king crimson. The Mars Volta have incredibly put the effort into taking their inspirations and making something boldly unique out of them. "Tira me a las aranas" (which roughly translates as throw me to the spiders) is a haunting and dark acoustic piece with the horn of the railroad in the distance.
Extremely atmospheric. This piece links the journey from roulette dares to drunkship and it sort of reminds me of "horizons" by genesis or "mood for a day" by yes. A similar logic is used anyway.
This piece is touching yet in a way miserable at the same time. "Drunkship of Lanterns" and "Eriatarka" almost flow together as one song and are indeed my favourite parts of this album. Drunkship uses strong drumming technique and really shows off the sense of progression, experimenting and it really does make the listner feel a part of this psychadelic journey as you have been taken far away from that quiet intro of the album.
Drunkship has excellent lyrics such as "counting the toll", "carpel jets hit the ground" and "lash of one thousand eyebrows clicking", whenever cedric wails these lines it feels so incredible and touching. Some of Omars guitar pieces here are incredible, whether they are subtle and use ghostly effects or straight out zeppelin-ish licks and solos. Ikey excells on the keyboards.
There is also an allusion to the cicatriz centre piece here. "Eriatarka" starts with more compassionate vocals with downer, informative lyrics. I love the way the song changes from the soft intro to the frantic "tentacles smirk please" part.
This follows to another preulude of the cicatriz centrepiece with the different effects. I love the way it draws you back into the song too. One of my favourite moments on the whole album comes in at around 3:38 where omar, ikey and jon theodore kick in with the amazing bridging battle and then cedric wails "evaporated the fur/ because it covers them/ if you only knew the plans they had for us" this nearly leaves me in tears every time as i can never get over how good this album is.
The song ends with lots of trippy effects to make way for the albums epic centrepiece...
"Cicatriz ESP" is the longest piece on the album and the two RED HOT CHILI PEPPERS excell themselves. Flea's brilliant basslines thunder through jon's incredible drumwork and cedric really grabs the listeners attention with clearer vocals. This then finds its way into the brilliant "I'm defected" which always wow's me.
There is an incredible show of prog effects in the middle of this album with john frusciante creating trippy solos and effects for a long but listenable length of time.This shows off the drug based substance of the musicians. this is incredibly progressive.
There is meant to be the effect of being underwater and it is done very well if you listen from around 6 minutes on. there are even some Floydish effects that remind me of echoes (also a water themed piece). This then leads back into an excellent reprisal of the I'm Defected part and that familar bassline is there too for one of the best progressive pieces on the album.
This track also reflects to the "squidman" artwork that Storm Thorgerson created that represents a monster like creature ascending to heaven as a man from the murky depths of self disgust. This idea comes from the Greek representation of water and death. The ESP in the title could stand for exit sleeping process, representing the end of the coma fantasies as cerpin taxt awakes.
(the ESP in intertiatic is enter sleeping process). This is only a theory. There are huge discussions about the story and lyrics and their different meanings and interpretations on www.
thecomatorium.com Its not over yet. "This Apparatus Must Be Unearthed" is one of the shorter tracks, (well 5 mins isn't short) that takes you from the relaxing watery effects of cicatriz to a keep in the teeth frantic guitar based track.
Omar and Cedric continue to play together flawlessly almost like brothers. This is a strong piece and is bound to give you a headache. "Televators" is full of sorrow and depression.
A slow acoustic piece with trippy effects to backround. Cedric's best vocals display is probably here, tho i love his voice in whatever he plays. The lyrics are about Cerpin Taxt (who is based on Julios Venegas) awaking from the coma and finally achieving suicide.
This track continuosly builds up and shows a nice change to the album. The album closer is an epic. It seems to have everything.
Jon theodore is a star on this album as his drum fills, solos and beats are truely insane. One of the best parts of this song (and the album) is there is an amazing bass solo in the middle or towards the end. I've seen a live version and it was taken to even more epic proportions but for the studio version, go flea!
This song has a similar concept to "Cicatriz ESP" in that it builds up to an instrumental centrepiece that is very progressive and lengthy and then has a reprisal of the main vocal and guitar structure. The outro is spectacular and i couldn't have asked for a better ending to an epic story as cerpin taxt takes the veil and questions who brought him to the afterlife. pieces to slow, psychadelic sounds.
The mars volta have used the sound effects to feels like each layer of sound is attacking your ears from different directions. The sheer intensity of this 60 minute trip plays on your mind. Ikey Owens frantic keyboard action is the closest thing to match up to the wizard, rick wakeman of yes.
Cedric and Omar which are truely amazing. music may have changed. yet the mars volta have bought the sound of the 60's and 70's perfectly into the new millenium.
deloused in the comatorium is just what modern music needed. Now i cant wait to see where the next studio album, "frances the mute" takes us. of languages as you would expect from the titles.
Musically orginal and challenging throughout, this album will be impossible to put down. a masterpiece, makes ugliness look beautiful, beauty obscured, contridication and irony. the mars volta.
Posted Friday, May 07, 2004, 20:32 EST |
The music on this album almost singlehandedly revived my savor for progressive rock after two or more decades of frustration and disappointments, and makes my list of the best albums of the last ten years in any genre. The lyrics are unabashedly verbose- good for them, they didn't dumb it down- but the concepts are basic and powerful; the instrumentation is (comparatively) sparse and often stark, but always full of energy and exploration. There is a haunting, ragged passion throughout that dares to be both violent and vulnerable.
Theodore's percussion skills drive each song, from wild feats of drumming to latin rhythms. Cedric has a distinctive upper-register voice, youthful but not the least bit naive, and an uncanny knack for delivering memorable lyric hooks within the experimental framework. Omar covers a wide range of tones, favoring a slightly overdriven but hardly smooth sound that brings to mind some of Fripp's classic complex single-note paterns.
Every so often he'll pour on the fuzz for a sustained lead tone (a Howe-meets-Santana combo which is especially striking during the latin section of 'Cicatrix'). One of my few tiny criticisms concerns the not infrequent atmospheric passages, mostly effects and guitar noise- dynamically, they suit the structure well but are themselves not always terribly interesting. I'm guessing that Omar is more than capable of some great atmospherics but struggled a bit in the studio to match the excitment of these same parts as performed live.
In any case, with every song ultimately a gem, this is a minor fault- and strikes a refreshing contrast with many albums where every last note is carefully premeditated. Rawness has never been a hallmark of the progressive genre (apart from some live mishaps and 'just messing around' filler tracks), but The Mars Volta proved that the punk influence and the progressive rock motif (for lack of a better word) could be integrated..
.an idea that I'm sure would have sounded absurd during the jazz and metal explorations of the 80s and 90s. This album is really something special, a herald perhaps of a burgeoning reconciliation between the often backwards-looking and insular progressive rock genre and the brash and energetic sounds of more alternative, underground forces.
I know it isn't for everyone in the Prog community, but even restricting it to four stars seems miserly. After waiting a year to see if there was more novelty than innovation, I ultimately conclude that any progressive fan must hear this album. Five (updated from four) stars!
Posted Sunday, May 30, 2004, 03:36 EST |
This really is a good album, 4.5 stars. It certainly is unique in it's ability to fuse together prog rock, punk rock, latin and salsa influences, and a hint of jazz-rock fusion.
It is friends, who attempted suicide by overdosing and entered a coma. He struggles to decide whether to live or go through with the suicide. When he awoke, he decided to finish the suicide and jumped off a building.
It takes a sort of prog cliche (used in dying/entering a coma and going through an introspective journey and deciding to live, and twists it. Cerpin Taxt decides to die. Not humorous, I know, but even death can be The first track serves as an intro, and an excellent one at that.
Everything builds up as Taxt reviews why he wishes to die, and as he injects the rat poison, the guitars slash into the flowing keyboards multiple times, then everything stops. A huge strike on the guitar, and "Inertiac ESP" begins. I don't know what Bryan Adair is talking about; this is one of the best songs on here.
It is very dense, but not chaotic. And the "now I'm lost" vocal is simply wonderful. Taxt's journey has begun.
"(The Haunt of) Roulette Dares" is a fairly good track, but is not my favorite really. as "throw me to the spiders") which leads into "Drunkship of Lanterns," a great and varied song. "Eriatarka" is another winner, a veritable roller coaster of sound.
"Cicatriz ESP" is a good song, beginning and ending in a beat-based rock fashion which sandwiches a keyboard psychadelic interlude. In the next track, "This Apparatus Must be Unearthed," Taxt wakes from his coma. The instrumentation is extremely chaotic, but by no means bad.
Then the music cuts, and we are left with the sounds of birds This leads to "Televators," a sad acoustic epilog which tells of Taxt's choice to commit suicide. But it's not over. We are flung into a band frenzy for "Take the Veil," a sort of odd ending.
It functions about the same as "Cicatriz ESP," and seems to be about Taxt just after he dies, and he is in purgatory. Or something. All in all, it really is an essential album to any new-school proggers.
Old-schoolers should try it, but don't be disappointed if it doesn't work for you.
News RSS