b o b

I got into this band backwards, buying their second full-length Frances the Mute the day it came out, then eventually deciding to pick up their first. Coming from that perspective, I find De-Loused to be a bit less adventurous than Frances, and more plain alterna-rock. There are bits where they "prog out" (the ending of "roulette dares" even features a mellotron or something that sounds like one), but those bits are fewer and further between than on the sophomore effort. The vocals remain an acquired taste, although I'm starting to get used to them. Musically this disc is similar to Frances, with lots of high-energy rhythms and loud distorted guitar contrasted with the occasional quieter, introspective passages and psychedelic freak-outs. As on the other album, all the songs flow into each other so that the whole album sounds like one long piece. That isn't necessarily a good thing, as the lack of variety from song to song makes the album start to sound "samey" after a while. As for comparisons to bands that prog rock fans might be familiar with, I still hear some Pink Floyd and King Crimson influences. Maybe also a bit of Rush. But the band that this CD frequently brings to mind is Led Zeppelin, both because the singer sounds like he's trying to channel Robert Plant at times and because the music often sounds Zeppelinish. The song "Drunkship of Lanterns" in particular sounds like Zep and (perhaps because of that) is one of my favorite tracks on the CD. Another favorite is "Televators", which sounds like a more aggressive take on what Pink Floyd were doing around the time of their More soundtrack. All in all, I think this disc and Frances the Mute are both pretty good (with Frances being the better of the two), but unless the band comes up with some new tricks on future albums, these two should be enough for me. Hopefully I'll get a chance to see them play live sometime, as their live shows are said to be impressive. review by Bob Eichler — 5-6-05 —

b r a n d o n

The Mars Volta is latest popular rock band to catch the attention of prog fans. And no wonder: long compositions, nonsensical lyrics, strident vocals, some unconventional song structures, and juxtapositions of soft and loud passages: all these elements often associated with "traditional" prog are here. Not to mention some unusual yet addictive melodies. De-Loused in the Comatorium consists of hard rock that seems to be almost equally punk- and prog-influenced. The punk/hardcore influence is there in the distorted guitar, the sometimes hyperactively fast tempo, and the bleak aesthetic; the prog influence is most obvious in the vocals, the extended instrumental passages, and the fairly frequent dynamic changes. The combination of influences works well; the result is an experimental yet accessible alternative rock album. Unlike some of the other mainstream rockers that appeal to prog fans, The Mars Volta definitely aren't afraid to indulge in some of prog's excesses (especially live, where they are known to be a kind of wildly chaotic jam band), with extended, meandering instrumental passages sprinkled liberally throughout this album. The vocals, which seem to be garnering Geddy Lee comparisons if only because of the singer's somewhat androgynous tone, are seriously aggressive, and are likely to make or break the album for some people. I for one was taken aback at first, but I've really come to like the singing here - the vocalist pushes his range to the limit, but never really sounds forced. This album is far from perfect - some of the compositions could definitely use some tightening up. The centerpiece of the album is undeniably "Cicatriz ESP", which opens with a fairly straightforward driving melody overlaid with those distinctively appealing vocals. It reaches a feverish climax a few minutes in, and then basically comes to a dead stop. A slow, quiet, somewhat aimless middle section goes nowhere for quite some time before the band kicks it back into high gear, returning to the opening themes quite effectively, and then coming to a crushing conclusion. I was reminded somewhat of King Crimson's "Moonchild": a good (even great) song section hindered by some inexplicably lengthy and pointless instrumental noodling. This criticism could apply to many of the songs here - a little bit of editing and tightening up could go a long way for these guys. It should be kept in mind, though, that this is The Mars Volta's first full-length release. Their future could hold either studio releases that mimic their live shows, with lots of jamming and noodling; or studio releases that contain more focused, powerful compositions that can provide potent springboards for jamming in concert. If the latter happens to be the case, expect great things out of this group. As it is, this album gets my cautious recommendation - though if you're not tolerant of unusual vocals, stay far, far away. review by Brandon Wu — 1-19-04 —