The Mars Volta is something new. When Cedric Bixler-Zavala and Omar Rodriguez-Lopez separated from their first groundbreaking musical expedition, At The Drive In, it was all up-in-the-air as to where they might go from there.
The Volta burst forward with an amazing short-play album called “Tremulant EP” and followed it up with the masterpiece concept album, “De-Loused In The Comatorium,” which featured Flea of The Red Hot Chili Peppers on bass guitar. The much anticipated new release, “Amputechture,” arrived and delivered without fail. Much like Jimmy Page from Led Zeppelin, Rodriguez-Lopez exercises much control over the mastering and producing of The Volta’s albums.
With “Amputechture” Rodriquez-Lopez opted not to do all of the guitar work himself (his primary instrument in the band), but rather to bring on John Frusciante of The Red Hot Chili Peppers.
The Mars Volta is one band that is very hard to define. They don’t necessarily fit any single genre, but are more of a post-modern mix of progressive-rock reminiscent of Yes and Led Zeppelin, combined with Latin music, experimental/cinematic soundscapes and just straight-up rock ‘n roll. The Mars Volta has composed a completely new and original creation that is clearly not directly influenced by any other artist.
At first, the album seems a bit like they may have sold out. “Amputechture” is like a David Lynch film (Mulholland Dr.). This album’s concept is a compilation of different characters, stories, and environments that all somehow tie together, in the most miniscule but most integral ways.
“Amputechture” is an acquired taste. Listening to it multiple times only makes it that much better. As you find yourself listening to the layers upon layers of sound, the very intricate and subtle skill displayed in every portrayal of Rodriguez-Lopez’s artistic vision through which each instrument truly comes to life.
It opens with a slow-paced track called “Vicarious Atonement” that sets the mood and builds anticipation for the rest of the tracks. This seemingly long exposition of almost seven and a half minutes may seem a bit tiresome, but it pays off. The overall mood and mise en scène of the album is a dark and expansive atmosphere of aggressive guitars and wild sound effects equally balanced with eerie, but sometimes mellow and enchanting sound effects.
As “Amputechture” moves into some of the more straight-up rock’n’rolling, Frusciante’s work becomes apparent but blends wonderfully with Rodriguez-Lopez’s ever-unfolding intricate and obscenely amazing guitar lines. Bixler-Zavala’s vocal range seems to be un-ending throughout almost the entire album. The finalized work of the vocal effects used in post-production are of the highest and purest quality.
The vocal imagery and presence brings an entirely new dimension of reality to the stories and visuals that the lyrics provoke. With phrases such as “humans as ornaments” and other marginally disturbing images, the words draw you in to listen closer and anticipate what will come.
The bandmates, it seems, must have spent a lot of time making sure that every single detail of the composition was exactly how they intended it to be; creating one large tapestry; a million pieces of sound combined with a cosmic synergy of sound achieving a new vision.
“Amputechture” is something real, large, and amazing to experience (an all inclusive review of this album could go on for pages).
“Amputechture” is a masterpiece, a work of art that really stands out and needs no false securities. Take a listen and learn for yourself, but don’t just listen to the first thirty seconds and say “forget it.”
Give The Mars Volta a chance, they will show you that real art and dedication can transport your mind. “Amputechture” will take you on a cosmic journey into the trippy and uplifting, yet dimly illuminated world of The Mars Volta’s artistic vision; if you let it.
The Mars Volta is on tour this fall with the Red Hot Chili Peppers for the “Stadium Arcadium” Tour. I’m going, and you should all try to buy tickets from scalpers.
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