Compilation By Jon Dolan, Dan Epstein, Reed Fischer, Richard Gehr, Brandon Geist, Kory Grow, Will Hermes, Ryan Reed, Jon Weiderhorn (rolling stone)
For close to a half century, prog has been the breeding ground for rock's most out-there, outsized and outlandish ideas: Thick-as-a-brick concept albums, an early embrace of synthesizers, overly complicated time signatures, Tolkienesque fantasies, travails from future days and scenes from a memory. In celebration of Rush's first Rolling Stone cover story, here's the best of the deliciously decadent genre that the punks failed to kill.
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THE MARS VOLTA
''DE-LOUSED IN THE COMATORIUM
JUNE 24 2003
67:54
1 Son Et Lumiere 01:35
2 Inertiatic ESP 04:23
3 Roulette Dares (The Haunt Of) 07:30
4 Tira Me A Las Aranas 01:28
5 Drunkship Of Lanterns (Cedric Bixler-Zavala, Omar Rodriguez-Lopez) 07:06
6 Eriatarka 06:20
7 Cicatriz ESP 12:28
8 This Apparatus Must Be Unearthed (Cedric Bixler-Zavala, Omar Rodriguez-Lopez) 04:58
9 Televators 06:18
10 Take The Veil Cerpin Taxt 08:41
11 Ambuletz 07:02
Tracks By Omar Rodriguez-Lopez, Except 5, 8
Cedric Bixler-Zavala – vocals
Omar Rodríguez-López – guitar, bass guitar on 11
Jon Theodore – drums
Isaiah "Ikey" Owens – keyboards
Flea – bass guitar (except on 9, 11)
Jeremy Michael Ward – effects & sound manipulation
Additional musicians:
Lenny Castro – percussion
John Frusciante – additional guitar and synthesizer treatment on 7
Justin Meldal-Johnsen – stand-up bass on 9
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ABOUT THE ALBUM/WIKIPEDIA
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REVIEW/AMG
Johnny Loftus
When Omar Rodriguez-Lopez and Cedric Bixler-Zavala silenced At the Drive-In in the midst of its popular emergence, there was no question that the two artists would return with new music as exciting as their previous band. However, there was plenty of discussion in corners and over drinks about what, exactly, that music would sound like. It was clear that much more was happening under those Afros than biting, post-hardcore anthemics laced with psychedelia. In 2002, Rodriguez-Lopez and Bixler-Zavala returned with the single "Tremulant," attributed to their new project, the Mars Volta. Its shifting soundscapes were certainly a hint, but with the Mars Volta's ambitious De-Loused in the Comatorium, it's clear the ATDI expats' mushroom-headed hairstyles hide bulging brains that pulsate with ideas, influences, and a fever-pitch desire to take music forward, even if they're occasionally led too far afield for the audience to follow. A concept album of sorts, Comatorium is a swirling ten-song cycle inspired by Julio Venegas, a childhood friend of the band who followed his fearlessness to a self-inflicted end. While the storyline is bewilderingly obtuse, it nevertheless unifies the album's wildly shifting sounds. Thrumming, Led Zeppelin-inspired pounding gives way to the thump of a free jazz bass punctuated with blasts of guitar squelch in "Drunkship of Lanterns." Meanwhile, the windswept landscape of "Roulette Dares (The Haunt Of)" unfolds over seven minutes, revealing remnants of ATDI, fissures of glittering, confessional pop, and layer upon sedimentary layer of a shrieking Bixler-Zavala, harmonizing with himself over vintage 1970s organ. All of this gives way to a gentle landslide of an outro, where an expressive guitar solo that would make Carlos Santana scratch his head threads its way between brooding bass. Later, Red Hot Chili Peppers secret weapon John Frusciante stops by for "Cicatriz ESP," which undergoes a full stop after its relatively straightforward (for these guys, anyway) beginning, reentering the atmosphere to the fiery strains of at least three concurrently soloing guitarists. Though the brief-by-comparison ATDI-ish "Inertiatic ESP" acts as an opposite to the epic "Cicatriz ESP," the band's ardent desire for re-creation is defined in the latter song's shifting folds and faults. But while De-Loused in the Comatorium may well remove the stigma from the prog and art rock forms it suggests, and is certainly a monument to unbridled creativity, it can also be seen as bombastic and indulgent -- much like prog has been in the past. Comatorium is exciting, to be sure. But in a way, it avoids answering that old question about the Mars Volta: What will the music sound like?
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BIOGRAPHY/AMG
Matt Fink
Picking up the pieces from At the Drive-In, Cedric Bixler-Zavala and Omar Rodriguez-Lopez formed the Mars Volta and wasted little time branching out into elements of hardcore, psychedelic rock, and free jazz that expanded on the boundaries of their previous work. Although their previous band's demise ultimately arrived before they were able to truly capitalize on their mounting commercial triumphs, the Mars Volta immediately impressed with their willingness to eschew conventional logic and push themselves into new artistic directions instead of opting for the more marketable sounds. (Interestingly, their progressive yet streamlined approach gave them the early lead among critics against their former bandmates in Sparta, the more emo-leaning of the bands resulting from the split.) Bixler-Zavala and Rodriguez-Lopez enlisted friends Ikie Owens (also of the Long Beach Dub Allstars) and Jeremy Michael Ward, and the Mars Volta debuted with the EP Tremulant in 2002. Still, as much of their reputation was built on the strength of their live show, their highly energetic performances resulted in a wave of word-of-mouth hype that elevated the band to near-mythic proportions because so little of their recorded material was available to the public. Sadly, Ward passed away May 25, 2003 at the age of 27 from an apparent drug overdose. the Mars Volta had recently returned from an European tour supporting the Red Hot Chili Peppers, where they introduced brand-new tracks from the full-length De-Loused in the Comatorium, which was released via Universal the following June.
The band returned in early 2005 with their second full-length, the ambitious song cycle Frances the Mute. (They also issued the live set Scab Dates later that year.) Leading up to the release of third album Amputechture in September 2006, drummer Jon Theodore quit and was replaced by Blake Fleming (who had played on early Mars Volta demos). The album also featured an expanded role for the Red Hot Chili Peppers' John Frusciante. Less than a year later, in late 2007, the new single "Wax Simulacra" paved the way for the fourth Mars Volta album, The Bedlam in Goliath, which debuted at number three on the American albums chart. Less than two years later, the band had prepared their follow-up, a slightly quieter outing titled Octahedron that became their debut for Warner Bros. Rodriguez-Lopez has also recorded multiple times, producing more than a half-dozen albums within the span of as many years. In 2011, it was announced that At the Drive-In would be reuniting, though this didn't slow down Bixler-Zavala and Rodriguez-Lopez, who released their sixth album as the Mars Volta, Noctourniquet, in early 2012.
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BIOGRAPHY/WIKIPEDIA
**********
TO THE TOP
For close to a half century, prog has been the breeding ground for rock's most out-there, outsized and outlandish ideas: Thick-as-a-brick concept albums, an early embrace of synthesizers, overly complicated time signatures, Tolkienesque fantasies, travails from future days and scenes from a memory. In celebration of Rush's first Rolling Stone cover story, here's the best of the deliciously decadent genre that the punks failed to kill.
**********
THE MARS VOLTA
''DE-LOUSED IN THE COMATORIUM
JUNE 24 2003
67:54
1 Son Et Lumiere 01:35
2 Inertiatic ESP 04:23
3 Roulette Dares (The Haunt Of) 07:30
4 Tira Me A Las Aranas 01:28
5 Drunkship Of Lanterns (Cedric Bixler-Zavala, Omar Rodriguez-Lopez) 07:06
6 Eriatarka 06:20
7 Cicatriz ESP 12:28
8 This Apparatus Must Be Unearthed (Cedric Bixler-Zavala, Omar Rodriguez-Lopez) 04:58
9 Televators 06:18
10 Take The Veil Cerpin Taxt 08:41
11 Ambuletz 07:02
Tracks By Omar Rodriguez-Lopez, Except 5, 8
Cedric Bixler-Zavala – vocals
Omar Rodríguez-López – guitar, bass guitar on 11
Jon Theodore – drums
Isaiah "Ikey" Owens – keyboards
Flea – bass guitar (except on 9, 11)
Jeremy Michael Ward – effects & sound manipulation
Additional musicians:
Lenny Castro – percussion
John Frusciante – additional guitar and synthesizer treatment on 7
Justin Meldal-Johnsen – stand-up bass on 9
**********
ABOUT THE ALBUM/WIKIPEDIA
**********
REVIEW/AMG
Johnny Loftus
When Omar Rodriguez-Lopez and Cedric Bixler-Zavala silenced At the Drive-In in the midst of its popular emergence, there was no question that the two artists would return with new music as exciting as their previous band. However, there was plenty of discussion in corners and over drinks about what, exactly, that music would sound like. It was clear that much more was happening under those Afros than biting, post-hardcore anthemics laced with psychedelia. In 2002, Rodriguez-Lopez and Bixler-Zavala returned with the single "Tremulant," attributed to their new project, the Mars Volta. Its shifting soundscapes were certainly a hint, but with the Mars Volta's ambitious De-Loused in the Comatorium, it's clear the ATDI expats' mushroom-headed hairstyles hide bulging brains that pulsate with ideas, influences, and a fever-pitch desire to take music forward, even if they're occasionally led too far afield for the audience to follow. A concept album of sorts, Comatorium is a swirling ten-song cycle inspired by Julio Venegas, a childhood friend of the band who followed his fearlessness to a self-inflicted end. While the storyline is bewilderingly obtuse, it nevertheless unifies the album's wildly shifting sounds. Thrumming, Led Zeppelin-inspired pounding gives way to the thump of a free jazz bass punctuated with blasts of guitar squelch in "Drunkship of Lanterns." Meanwhile, the windswept landscape of "Roulette Dares (The Haunt Of)" unfolds over seven minutes, revealing remnants of ATDI, fissures of glittering, confessional pop, and layer upon sedimentary layer of a shrieking Bixler-Zavala, harmonizing with himself over vintage 1970s organ. All of this gives way to a gentle landslide of an outro, where an expressive guitar solo that would make Carlos Santana scratch his head threads its way between brooding bass. Later, Red Hot Chili Peppers secret weapon John Frusciante stops by for "Cicatriz ESP," which undergoes a full stop after its relatively straightforward (for these guys, anyway) beginning, reentering the atmosphere to the fiery strains of at least three concurrently soloing guitarists. Though the brief-by-comparison ATDI-ish "Inertiatic ESP" acts as an opposite to the epic "Cicatriz ESP," the band's ardent desire for re-creation is defined in the latter song's shifting folds and faults. But while De-Loused in the Comatorium may well remove the stigma from the prog and art rock forms it suggests, and is certainly a monument to unbridled creativity, it can also be seen as bombastic and indulgent -- much like prog has been in the past. Comatorium is exciting, to be sure. But in a way, it avoids answering that old question about the Mars Volta: What will the music sound like?
**********
BIOGRAPHY/AMG
Matt Fink
**********
BIOGRAPHY/WIKIPEDIA
**********
TO THE TOP
