When I heard the Mars Volta was abandoning the concept theme for its new album, I assumed the finished product would be a stripped-down, straightforward piece of art. Mars Volta lite, if you will. You know what they say about assuming...
"Amputechture," the band's third full-length effort, is still a wild ride through meandering jazz and progressive rock. It is dense and overwhelming at first, but, if devoured in pieces, this record can eventually be listened to the entire way through.
The difference from previous album themes may be evident only to the band members themselves: Guitarist/composer/producer Omar Rodriguez-Lopez and singer/lyricist Cedric Bixler-Zavala decided to relieve the album of any sort of story, unlike the first two releases. The group's debut, 2003's "Deloused in the Comatorium," shares the fictional dreams of a comatose friend, and 2005's "Frances the Mute" is a journey through the eyes of a band member who sets out to find his missing birth parents. The albums themselves are great, but the storylines are muddled and abstract. If the listener did not know these were concept albums, it would not make a difference.
Devoid of any theme, "Amputechture" kicks off with "Vicarious Atonement," a ballad featuring Rodriguez-Lopez's layered guitar and Bixler-Zavala's soft vocals. The band's keyboard player, Isaiah Ikey Owens, adds a haunting texture.
The next track, "Tetragrammation," is a journey of Pink Floyd proportions. Clocking in at over 15 minutes, this song stretches out into a free-form convulsion, giving Rodriguez-Lopez and drummer Jon Theodore room to show off their considerable chops. Somewhere in the chaos, there is a catchy hook here, proving the Mars Volta could write radio hits if they wanted to.
"Meccamputechture" and "Day of the Baphomets" showcase the band's horn section, the former featuring tasty interplay between guitar and trumpet. The former contains a saxophone solo, and both instruments will be accompanying the band on the road. Kudos to the Mars Volta for taking the horns on tour with them, and not relying on samples like many other bands. My personal favorite track, "Viscera Eyes," locks into a Led Zep-like groove and features Red Hot Chili Peppers' guitar wizard, John Frusciante.
"Amputechture" proves that Rodriguez-Lopez and Bixler-Zavala made the right choice by leaving their original band, futuristic-punk rockers At the Drive In. ATDI was impressive, and on the brink of stardom. But the Mars Volta has no limitations whatsoever. Whether or not MTV and radio airplay is in the equation, they will continue to grow and change.
"Amputechture," the band's third full-length effort, is still a wild ride through meandering jazz and progressive rock. It is dense and overwhelming at first, but, if devoured in pieces, this record can eventually be listened to the entire way through.
The difference from previous album themes may be evident only to the band members themselves: Guitarist/composer/producer Omar Rodriguez-Lopez and singer/lyricist Cedric Bixler-Zavala decided to relieve the album of any sort of story, unlike the first two releases. The group's debut, 2003's "Deloused in the Comatorium," shares the fictional dreams of a comatose friend, and 2005's "Frances the Mute" is a journey through the eyes of a band member who sets out to find his missing birth parents. The albums themselves are great, but the storylines are muddled and abstract. If the listener did not know these were concept albums, it would not make a difference.
Devoid of any theme, "Amputechture" kicks off with "Vicarious Atonement," a ballad featuring Rodriguez-Lopez's layered guitar and Bixler-Zavala's soft vocals. The band's keyboard player, Isaiah Ikey Owens, adds a haunting texture.
The next track, "Tetragrammation," is a journey of Pink Floyd proportions. Clocking in at over 15 minutes, this song stretches out into a free-form convulsion, giving Rodriguez-Lopez and drummer Jon Theodore room to show off their considerable chops. Somewhere in the chaos, there is a catchy hook here, proving the Mars Volta could write radio hits if they wanted to.
"Meccamputechture" and "Day of the Baphomets" showcase the band's horn section, the former featuring tasty interplay between guitar and trumpet. The former contains a saxophone solo, and both instruments will be accompanying the band on the road. Kudos to the Mars Volta for taking the horns on tour with them, and not relying on samples like many other bands. My personal favorite track, "Viscera Eyes," locks into a Led Zep-like groove and features Red Hot Chili Peppers' guitar wizard, John Frusciante.
"Amputechture" proves that Rodriguez-Lopez and Bixler-Zavala made the right choice by leaving their original band, futuristic-punk rockers At the Drive In. ATDI was impressive, and on the brink of stardom. But the Mars Volta has no limitations whatsoever. Whether or not MTV and radio airplay is in the equation, they will continue to grow and change.
