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The Mars Volta’s latest album out of this world

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by Taylor Paul

Thursday, January 31, 2008

There have been few bands who have challenged the limits of music to the extent that The Mars Volta has. Having been lumped uncomfortably into the prog (or experimental rock genres) by critics, the band has proven that they are stepping out of those boundaries and defining their own genre.

Front man Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez have been the only consistent members since the band’s inception. The band has featured a constantly rotating lineup of musicians, including Red Hot Chili Peppers’ guitarist John Frusciante and bassist Flea. Despite their ever-changing environment, Rodriguez-Lopez and Bixler-Zavala have continued to put out critically acclaimed albums, and their latest, The Bedlam in Goliath, will surely follow suit.

After straying from their usual method of concept songwriting with their 2006 album, Amputechture, The Mars Volta returns to using their storytelling to unify each track on Bedlam. This time, the narrative is based on a series of stories revealed by a Ouija board called the “Soothsayer” (also a name of a track on the album) about three unique people presented in the form of one person, a character known as “Goliath” (another one of the album’s tracks).

The concept for Bedlam can most charitably be dubbed “bizarre,” but it brings a tightness and cohesion to the album as a whole, which is something that was lacking on Amputechture. Each track is considerably shorter than The Mars Volta’s regular records, and although there are no lengthy, meandering, 30-minute songs such as those as found on Frances the Mute, the shorter track lengths still manage to hold the central theme together while also providing more variation throughout.

The first track, “Aberinkula,” kicks off the album with the whole band in your face, and the listener immediately has high hopes for the rest of album. “Metatron” begins in a similar fashion, and it’s hard to fight the temptation to repeat Rodriguez-Lopez’s opening guitar riff over and over. The third song, “Ilyena,” (named after the given name of Cedric’s favorite actress, Helen Mirren) goes through some distortion and sound effects before setting into a groove that Parliament-Funkadelic would be proud of. The song continues to bring a Latin flavor to the funky beat, with each component complementing the others in a solid union.

“Wax Simulacra” is the album’s first single, and it is one of the shortest non-transitional tracks the band has ever recorded, but it wastes no time in featuring new drummer Thomas Pridgen pounding out a set of technically impressive fills and one of Omar’s signature all-over-the-place guitar riffs. This track leads perfectly into “Goliath,” which boasts a steady backbone in the rhythm section that might unconsciously make you start bobbing your head.

Another notable track, “Ouroborous,” starts off with a running guitar riff that is heavier than Volta fans are used to hearing and is supported by a speed-metal-meets-Santana drum beat. Omar drops into a solo that “Guitar Hero” fans would love to get their hands on before setting back into the meat of the song.

It’s not a reach to say that The Bedlam in Goliath is The Mars Volta’s best release to date. The whole album rocks out in hard way, but not necessarily any more than their previous albums. This latest album has less of the transitional sound and guitar effects that listeners feel like they can’t appreciate unless they are high. Nevertheless, after Bedlam, Volta fans new and old can rest assured that the band will continue to push their sound to the limit.

4.5 stars out of 5

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