One of the words used most often to describe The Mars Volta is “progressive.” If you’re going by the standard musical description, it would be unfair to refer to them as progressive, visions of the original ’70s prog-rock dinosaurs notwithstanding. But given the true meaning of the word — to advance or develop beyond the expected standards — The Mars Volta is most definitely a progressive band.
As the brainchild of Omar Rodriguez-Lopez and Cesar Bixler-Zavala, The Mars Volta rose from the ashes of indie heroes At the Drive-In and immediately set out to go where no band had gone before — at least not in the past 30 years. Its latest foray into unchartered waters is “The Bedlam In Goliath,” a sprawling, 75-minute explosion of experimental hard rock.
The core of the album was written as a result of the band’s unfortunate experiences with an ancient Ouija board which it named “The Soothsayer.” At times chaotic and exceedingly complicated, songs like “Wax Simulacra” and “Askepios” simply blast out of the speakers and flatten everything in their path. New drummer Thomas Pridgen adds a fresh batch of complexity to the band’s sound. Add in the frantic guitar work of the Red Hot Chili Peppers’ John Frusciante (especially on “Ilyena”), and you have an intensity that few bands could match. The ripping guitar work on the title track and the namesake “Soothsayer” give everything the Mars Volta touches a fierce and aggressive edge. And in true TMV style, it never lets up for the duration of the CD. Only “Tourniquet Man” changes the pace with its weird effects and menacing feedback.
Overall, “Goliath” has a greater focus on the songs, where “Frances the Mute” and “Amputechture” relied heavily on noise and abstract elements that could be harsh to the listener. It’s still a bit jarring at times, but at least the core material drills right into your brain.
With that being said, The Mars Volta is not for every taste, nor is it for the faint of heart. “The Bedlam In Goliath” demands your attention right out of the gate. Sure, it’s progressive, but “The Bedlam In Goliath” takes it to a whole new level.
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