The Mars Volta
ALBUM: "Octhaedron" (release date: 19/06/2009)
Even just 18 years music Omar Rodriguez-Lopez and Cedric Bixler-Zavala already together. The duo went through at that time a prime example of musical evolution: Never stopped, but matured their art and continued to grow constantly. Since Omar member of the predecessor band At the Drive-In was the band piece by piece was more experimental way, the At the Drive-In were also ultimately fatal and led to the split. Omar epic songwriting and Cedric's lyrical novellas complemented perfectly on the first two albums The Mars Volta. extract the artistic best from the two thinkers, has been the motivator of this cooperation.
"The continuous goal was to constantly develop," says frontman Omar about the latest recordings that The Mars Volta have wound up in Mexico. "We always want to make the next album sound different than the predecessor, develop us further."
And so it was with The Mars Volta from the outset. Even during the entropic late phase of At The Drive-In and before dubby side project De: Facto Omar and Cedric in which the later Mars Volta members Ikey Owens and Jeremy Ward were involved, were concerned both with new sounds. 2002 saw the first audible sign of life from The Mars Volta in the form of three-song EP "Tremenulant" - appeared on the band's own label GSL. The first concerts and recordings caught the rabid wild chaos of their beginnings a - a jumble of loose ideas before they recollected a little and their concentrations were insisting, "In The Comatorium De-Loused" deliver with a progressive masterpiece. The album as a whole was much more than the sum of ten stunning, sprawling compositions. The impressive debut of The Mars Volta worked as a dirge and dramatic representation of life of Julio Venegas, a friend and mentor of young Omar and Cedric. Venegas had taken his own life after he had been disfigured by a failed suicide attempt and partial paralysis. On the album Venegas emerges in the form of the figure Cerpin Taxt. The songs are about the blurred thoughts during an owed by a suicide attempt coma.
Despite skepticism, reaped the first "Post At the Drive-In work" good reviews and was also a commercial success. At first Mars Volta headlinershows album was played in its entirety. Quite a few of these grueling and moving nocturnal marathon ended with tears of joy and relief. A very special moment was the unexpected Gold Award. Encouraged and strengthened by this success strengthened Omar and Cedric the band structure by bassist Juan Alderete de la Pena, keyboardist Isaiah "Ikey" Owens, percussionist Marcel Rodriguez-Lopez (Omar's brother), flute and saxophone player Adrian Terrazas and drummer Jon Theodore , The work on the second, far more ambitious album began. As with "De-Loused ...", the album was inspired by the loss of a close friend. Jeremy Ward, the brains behind the sound controls of the band died unexpectedly shortly after the release of "De-Loused ...". "Frances The Mute" Wards reflects tragic life - the unsuccessful search of adoptee to his actual, biological parents. If the predecessor still produced with the help of Rick Rubin, so this time was Omar solely responsible as a producer. "Frances The Mute" Exceeded all expectations and debuted at # 4 on the Billboard charts, as guests legendary musicians were represented again: is David Campell About Larry Harlow to the Red Hot Chili Peppers member John Frusciante, the now official Mars Volta Studiogitarist , With "The Widow" was even a hit single. For associated Tour was won by Pablo Hinojos a former member of At The Drive-In again. The concerts were the most successful and most intense to date. "Frances ..." sold over half a million copies in the US. All in all a Extremely impressive tribute to a deceased friend.
FOr the album "Amputechture" Omar and Cedric decided against a key, the drive by pulling topic. Omar fell in surreal song structures of individual tracks and was influenced by heresy, intolerance, demon worship and old episodes of TV series "Night Gallary" and "Twilight Zone." "Amputechture" was the hardest Mars Volta album - Omar and Cedric consider it as their autistic child who has the least to do with the other, but most care needs. Nonetheless, extraordinary songs like "Viscera Eyes" and "Day Of The Broken" still live favorite band and the fans.
The time after the release of "Amputechture" and the following tour seemed to be marked by misfortune and mishaps. Drummer Jon Theodore left the band and it was difficult to find a permanent replacement. Many concerts had to be canceled or moved because of inexplicable equipment issues and Cedric suffered from a strange illness that forced him to limp. A technician was crazy mentally and to make matters worse was still Omars Studio victims of floods. The many strange and unpleasant events happened at a time when Omar from Israel a Ouija - brought fOr Cedric - a board with divination skills. The band believed in a connection between the so-called "Soothsayer" and the ugly events. The board spoke with the band and told tales of seduction, infidelity, murderers, characters who united in evil Goliath. To put an end to the specter, Omar went to an unknown, deserted place and verbudelte the board at a location that will never find his bandmates hopefully, and he wanted to forget.
The legacy of the talking board processed The Mars Volta on their fourth album "The Bedlam In Goliath", which went to # 3 on the Billboard charts in early 2008. "The Bedlam In Goliath" was an embodiment of the crazy, avoiding the successive image of past Mars Volta plates, but started immediately with ecstasy on the opener "Aberinkula", on the first of the new drummer Thomas Pridgen was heard. "Ilyena", "Goliath", "Soothsayer", "Tourniquet man" and other stories and characters that had told the board that formed the foundation of the album. The track "Wax Simulacra" even brought an award for Best Hard Rock Performance at the 51st Grammy Awards in February of 2009.
FOr Omar Rodriguez-Lopez is a studio not merely a tool or something that positions the tools in the right places. The studio is his laboratory, his playground, his place where everything is created, everything is changed, old song structures at the end are not recognizable, new ideas, which are always locked and overturned and hit so unusual ways.
FOr the new album "Octahedron" Omar tried again on a completely new strategy - one that he had not tried so still in the band. As the foundation of the song was done basically he not retreated to the studio to weiterzufrickeln endlessly to the recordings. He took a different path. Instead his acoustic performances as far always realize with overdubs and other effects and thereby distort the foundations, he decided this time for every detail, hold every bell and every whistle. The result, so Omar is, that it is his first album, which can be heard with pleasure. All that makes music so interesting is clear on this album, clear and easy to hear. To keep this spirit, Omar reduced the band to a six-headed. Hinoyos and Terrazas left the band amicably.
"It was a big challenge to pull myself together," he says, "an infinite number of tracks, or runaway instrumental passages there and to pack out here for me was too easy. So I put myself in bondage, saying to myself: No, no more 97 parts come in this song. I reined in and kept the core of the songs, as he was in.
"Octahedron" is an exhilarating album with the emotions that have always been the hallmark of The Mars Volta. Your neugefunden simplicity and concentration leads to the most urgent and most intense songs of the band's history. Lyrically Cedric dealt with the topic of disappearances. He was inspired, inter alia, of kidnappers who wreak havoc in the current home country of the band Mexico, of mysterious disappearance, under the term "Urban legends" are summarized, and simply fade away from the way in which even the strongest and purest emotions and feelings so entirely disappear.
The album begins with the painful "Since You've Been Wrong". Cedric's powerful voice is based on a deeply sad mood with passionate melancholy that the listener just as unexpectedly meets as the direct rock songs (the shiny, futuristic beat in "Teflon" or streamline hunting rhythms in "Cotopaxi"). Without new experiences of past publications is "Octahedron" from. The energy is there in Omar's gift fOr exceptional songwriting, in stunning guitar runs with great intensity and emotional power ( "Luciforms"), in the in the ear festbeißenden hooks and melodies, as in the whipping rhythms in "Desperate Graves". "Everything counts for me is whether you moved something or not, "explains Omar." I've never tried with intention to be tricky or complicated. When I get sounds goosebumps, I use them. All that matters is whether me something hits, something touched. "
Ultimately, the album is another in the series of Omar and Cedric manifestos at their unassailable belief in their musical path, no matter where he also verschlägt out. Up to this point there was no reason to repeat one of their creative trips - especially not if such demonstratively powerful drives as "Octahedron" created thereby.
"The only reason for our great fan base, is that I believe my instincts," explains Omar. "We never compulsively tried to repeat success, to make someone happy. We only stayed true to ourselves and wrote music that we wanted to do. Our fans see that as genuine, authentic and genuine. "
And on "Octahedron" you can feel this authenticity more than ever.
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