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Old 11-06-2007, 02:13 AM   #1
CephalicExodus
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The Mars Volta’s Descent Into Bedlam: A Rhapsody In Three Parts

The genesis of The Mars Volta's new album The Bedlam in Goliath is one
of the weirdest stories in the history of modern music, a tale of
long-buried murder victims and their otherworldly influence, of strife
and near collapse, of the long hard fight to push "the record that did
not want to be born" out into the world. And I swear we'll get to all
of that in a second.

But right now, before we drag any new passengers on the Volta Express
into the lunacy of The Bedlam in Goliath, we've got to bring them up
to speed. And so I present "A Very Brief History of The Mars Volta":
Back at the turn of the century guitarist/producer Omar
Rodriguez-Lopez and lyricist/vocalist Cedric Bixler-Zavala decided to
form a musical partnership called The Mars Volta. They grabbed a few
other intrepid musicians and recorded The Tremulant EP, which was
incredible and weird and proved these guys were trailblazing far from
the paths tread by their prior band, At the Drive-In.

Then they released De-Loused In The Comatorium, an astonishing album
that served as both an elegy for and celebration of their friend Julio
Venegas (as told through the fictional character Cerpin Taxt whose
life-and-death travails are chronicled via the songs). The album was
huge in terms of exposure, influence, and raw momentum.
Next came Frances the Mute, an album with a central plot, based,
sadly, on the loss of another friend (this time fellow musician and
bandmate Jeremy Ward). An equally bizarre and powerful album. For this
record and the remainder since, Omar has produced solo, dropping some
of the pop sheen that Rick Rubin brought to the first album in favor
of more experimental textures and structures. If De-Loused… was a dark
album, this thing is obsidian. And also inspiring. And majestic.
Most recently they released Amputechture, their first album with no
central concept (aside from stretching the boundaries of their prior
musical achievements). Omar worked as a director/conductor/visionary,
writing all the music and providing motivation, while Cedric stretched
his vocals and lyrics around multi-tiered songs about things like
modern witch-burnings, cultural oppression, and madness. The soaring
intensity of the single Viscera Eyes alone is worth the admission.
The tours supporting each of these albums have proven that The Mars
Volta is an endlessly ambitious group intent on turning a standard
concert into something transformative that can best be described as an
aural blitzkrieg. Saul Williams, no slouch when it comes to rocking a
stage, once joked that he rushed through his opening sets just so he
could watch the Volta sooner.

Point Being: If you don't have these albums, you need them. If you do
have them then you know exactly what I'm talking about and you're
anticipating The Bedlam in Goliath more than any other record this
year. And you know, as I do, that if the Volta comes to your town for
a show that you have to be there or a little bit of your soul dies.

That's a science fact.

Which brings us to the now, on the eve of the release of The Mars
Volta's stunning new recording. Which brings us to The Story.
Perhaps it's best to insert a prologue for this tale stating that some
(cynics, pragmatists, people who would like their life to be more
boring) may instantly respond with rolled-eyes and disbelief. And
that's okay. But others are willing to acknowledge that most
metaphysics may just be the elements of physics our brains can't quite
comprehend yet, and that there is a great power in words, and in
belief.

Quotes from two Volta compatriots offer a relevant lead-in:
"The things you speak to can shape your world. Look at Biggie. 'Ready
to Die.' Dead. Word."
— Saul Williams (again)
"This is the sound of what you don't know killing you. This is the
sound of what you don't believe, still true. This is the sound of what
you don't want, still in you."
—El-P

And so, all that being said, here is The Story (and various
annotations): Omar was in a curio shop in Jerusalem when he found the
Soothsayer. It seemed to him an ideal gift for Cedric, this archaic
Ouija-style "talking board." So it was then and there, in a city where
the air swims with religious fervor, in a shop that might as well have
carried monkey's paws and Mogwais, that Omar changed the fate of The
Mars Volta forever.

Had he known at that moment that the board's history stretched far
beyond its novelty appearance, that its very fibers were soaked
through with something terribly other, that the choral death and
desire of a multi-headed Goliath was waiting behind its gates… well,
he might have left it at rest there on the dusty shelves.

The Upside of That Choice: No bad mojo unleashed. Erase the madness
that followed. Erase the bizarre connection to a love/lust/murder
triangle that threatened to spill out into the present every time the
band let its fingers drift over the board.

The Downside: No Soothsayer means The Bedlam in Goliath never would
have existed. And it turns out that this demented spiritual black hole
of a muse has driven The Mars Volta to produce a crowning moment in
their already stellar career.

So if Omar hadn't given in to his curiosity and brought the Soothsayer
home to Cedric then the band would probably have been happier,
healthier, less haunted.

But you and I, Lucky Listener, we would have been robbed of one
fucking amazing album.

More on that in a moment.

Back up to the last big tour. The Volta and the Red Hot Chili Peppers
are tearing venues in half, retreating to their busses, rolling
through the night. But instead of the normal Rock God routines the
guys are sitting around Cedric's new Ouija board, which they've dubbed
the Soothsayer. And they love it— it's the new post-show addiction.
The Soothsayer offers them names: Goliath, Mr. Mugs, Patience Worth,
Tourniquet Man.

The Soothsayer offers them a story: It's always about a man, a woman,
and her mother. About the lust floating between them. About seduction
and infidelity. And pain. And eventually, murder. Entrails and absence
and curses and oblivion. Exactly the kind of spooky shit you'd want
from your Ouija.

Now here comes the rub.

The Soothsayer starts asking the band what they have to offer. This
connection that's set up runs both ways, and the invisible voices
begin to speak of their appetites.

They threaten oblivion and dissolution, or offer it as seduction. The
voices merge as Goliath, a metaphysical quagmire and unfed saint whose
hunger to return to the real world grows more urgent with each
connection.

There are proper ways to close this union, but The Mars Volta have
never been anything if not adventurous. They stay in contact— even
taking phrases from the board and inserting them as song lyrics— but
never offer themselves as surrogates. And so the starving Goliath
extends its influence.

Inexplicable equipment issues abound while on tour.
Conflict with the existing drummer escalates and results in a change
of guard. Ritual gives way to injury and Cedric is laid low by a
randomly (and severely) gimped foot.

A completely reliable engineer's mental composure cracks, pushing him
from the project. The tracks he leaves behind are desperately tangled.
Omar's music studio floods, threatening to send him right over the
same precipice as the engineer.

Long-term album delays hit and people aren't sleeping well.
Nonsensical words and phrases the board had previously spoken begin to
pop up in things like documentaries about mass suicide.
The Soothsayer keeps telling the same story but the details are
becoming more brutal.

One day the label on the board peels back revealing pre-Aramaic lingo
written across weird cone shapes.
It's bad mojo writ large, and things are crumbling quickly.
Worst of all, the board has shifted from pleas to demands.
To threats.

So they buried the fucking thing.

There are many ways to close a spiritual connection. Wear white for a
whole year. Surround yourself with salt. Close a board and ask someone
else to open it, thus transferring the ownership. Break the board into
seven pieces and sprinkle it with holy water. Or bury it.
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Old 11-06-2007, 02:14 AM   #2
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Omar wrapped the Soothsayer in cloth and found a proper place for it
in the soil. Cedric asked that he never be made aware of its location.
And then their album found a new, more urgent purpose.
The Bedlam in Goliath is here to consecrate the grounds where the
Soothsayer lies in wait. It's metaphor vs. metaphysics. Its story will
be told to you and I, Lucky Listener, and we're the ones re-opening
the board. Taking on the ownership.

Perhaps if Goliath is spread between us all its hunger will dissipate.
Or, as it threatened, it could become our epidemic.
So there's the story, up to today, but it's not over. Because this
thing is about to enter the hearts and minds of countless listeners.
My hope is that the album will do exactly as The Mars Volta have
engineered it to do, and lift the unseen burden that hangs over them.
When they first sent me The Bedlam in Goliath and asked me to write
this, I was nervous. What if the music itself was somehow cursed, a
sort of audio Macbeth?

But after over one hundred listens I can tell you with confidence that
I'd risk a little spiritual vengeance for this album.
From the opening surge of Aberinkula to the Brobdingnagian blast of
Goliath to the frenzy and near escape of Conjugal Burns, The Bedlam in
Goliath is the sound of a band transformed. The Volta have never been
what any sane person would call restrained, but in the heat of this
bedlam, in their teeth-baring cornered animal response to an invisible
entropy, they've created a truly relentless musical juggernaut.

The returning roster (Omar Rodriguez-Lopez on guitar and production,
Cedric Bixler-Zavala on vocals and lyrics, Isaiah Ikey Owens on keys,
Juan Alderete de la Pena on bass, Adrian Terrazas-Gonzalez on horns,
Marcel Rodriguez-Lopez on percussion, Paul Hinojos on guitar and
soundboard, Thomas "Holy Fucking Shit This New Guy is Incredible"
Pridgen on drums, and Red Hot Chili
Pepper/regular-Volta-album-contributor John Frusciante rounding out
the guitar armada) have crafted a record that manages to contain the
echoes of their considerable prior work and merge them with their
uncompromising desire to carve out new territory in the musical
landscape.

Wax Simulacra carries with it the energy of De-Loused's This Apparatus
Must Be Unearthed and elevates the tone with frantic looped vocals and
a swirling mix of horns and drum rolls. The mind-melting freak-out
crescendos of tracks like Frances the Mute's Cassandra Geminni or
Amputechture's Viscera Eyes have always given the Volta's albums and
shows an air of transcendence, and there are moments on new tracks
like Goliath and Cavelettas and Ouroboros that guarantee escalating
listener paroxysms, if not Scanners-style exploding heads. The more
relaxed new tracks, like Ilyena or Tourniquet Man, manage to
encapsulate the strange lamentation of other Volta slow-burners while
adding an eerie sense of menace. The entire Volta crew is pushing
themselves further than ever before. And to anyone concerned about the
arrival of a new drummer, rest at ease. The Bedlam in Goliath unveils
Mr. Pridgen as a drum-pummeling berserker mainlining cheetah blood and
snorting dusted mastodon bones, proving masterful with the elaborate
and the explosive (and often melding both at the same time).

It's worth noting, amidst all of this rhapsodic praise, how Omar and a
crew of dedicated musicians have managed to breathe thrumming life
into what was almost a stillborn album. The audio that the first
engineer (who, on an up note, is now on the mend and feeling much
better) had left behind was close to unworkably snarled. In his
absence it became a scramble to rebuild what the band knew they had
been creating in the studio. Robert Carranza kicked in heavy on the
engineering, sinking himself into the whole project with an added
focus on the drum sonics. Lars Stalfors and Isaiah Abolin were also
called in, and along with Omar they dodged daylight for too-long
stretches and slaved to rework each track. Shawn Michael Sullivan and
Claudius Mittendorfer did their best as editors to keep the band from
having to start all over again. The ever-reliable Volta-mixer Rich
Costey tried to keep things positive and helped Omar battle what he
called Goliath's "quantum entanglement" (which even Rich saw evidenced
by things like randomly disappearing drum tracks).

The depth of that entanglement becomes apparent when you realize that
Omar, always at the center of these struggles, almost gave up on this
record. The same Omar Rodriguez-Lopez that moved to Amsterdam and cut
four solo albums while also working on Amputechture and a soundtrack
for the Jorge Hernandez film El Bufalo de la Noche. The same guy
that's probably working on a DVD, his own film, and 10 new albums
right now. But at certain points during work on Bedlam his nearly
incandescent creative force was on the verge of being snuffed out. And
he was sure Goliath was behind the chaos. After his studio flooded,
Omar even banned all mention of the Ouija board for fear that simply
acknowledging its existence might bring down some fatal blow. Despite
the disallowance, he remained haunted. He'd wake to fits of late night
inspiration only to find that there was a power blackout (but only in
his loft), or that the parts he'd crafted in the midnight hour would
later vaporize. Production work became so nightmarish and Sisyphean
that he'd occasionally check on the Soothsayer's burial site, to see
if it had been exhumed and "reactivated."

Knowing about the immense challenges faced in the creation of The
Bedlam in Goliath only elevates my appreciation for Omar's production.
With this record he has laid out a blueprint for anyone else seeking
to combine the complex with the primeval and make it all hit you where
it counts. This is an album that's electric for both the 3:00 AM
headphone listener and the guy doing 90 on the interstate with the
windows down. This is an album with an immense level of control and
experimentation on display; for every section with intricately panning
gut-punching drums and shimmering horn sounds and scorching guitars
there's another where you can sense a mischievous musical mind at play
(e.g. the fuzzed out bass tones at the end of Ilyena or the real
inserted recordings from Jerusalem or the sound of a live jack
switching between demo and final versions on Askepios). As a filmic
analog, picture Kubrick or Fincher working in tandem with Bunuel or
Jodorowsky.

Actually, similar analogs could be extended to the whole of the album
itself. The Volta have acknowledged the immense influence of
surrealism and film on their work. In relation just to Jodorowsky, The
Bedlam in Goliath manages to evoke the languid madness of Fando y Lis,
the infidelity and murder and worship of Santa Sangre, the
broad-spectrum religious imagery of Holy Mountain, the sheer
guts-on-the-table awe of El Topo. Throw in the identity confusion
head-fuckery of Lynch's strangest films, Werner Herzog's sense of
obsession, a few dollops of Jonestown: The Life and Death of Peoples
Temple, and pinches of The Exorcist and Don't Look Now and you're
starting to get the right idea.

On the lyrical front, you should be warned: This is an unsettling
piece of work. You're welcome to take Cedric's vocals at surface
level— he sounds incredible, his range broader than ever, his energy
and emotion undeniable.

Or you can begin to translate. Cedric Bixler-Zavala, like fellow
musical mavericks Bjork and Ghostface Killah, uses primarily English
words but speaks his own lyrical language. If you examine the meaning
behind his shrapnel-burst imagery, his obsessions with the grotesque
and the profoundly sacred, you begin to realize he's created a complex
associative tapestry that's designed with spider-web precision. And
before you know it you're trapped.
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Old 11-06-2007, 02:15 AM   #3
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The more you read the story he's laid out (an intricate meta-fictional
narrative reminiscent of Danielewski's House Of Leaves, involving both
the transgressions of the past and the desire of the Goliath parasite
to infest the Ouija-using host), the more you research his allusions
and the history of the spirit board, the more uncanny connections you
are bound to make. You start to recognize a tie between certain vocal
effects and messages from the board. You wonder if focusing on this
story too much might invite Goliath into your world. Soon you're
jumping at shadows, shopping for salt and all-white outfits,
surrounding yourself with graphs and counting words and letters and
looking for codes, creating your own primordial cymatics using the
album, feeling phantom tendrils in your bones. You begin to hope that
all the positive elements Cedric covertly slid into the songs (a
legion of religious references including snippets of Santeria-derived
prayers, classic fables, the hidden name of a regal actress he holds
in high regard, an underlying reverence for creation/menstruation,
vague hints of redemption) really are helping to balance out and maybe
even negate the darkness that has infested the album.

You're bound to have questions. What exactly transpired in the tragic
triangle? Who was really in control and who were the victims? Was
anyone innocent? How did they die and what happened to the bodies? How
did they come to rest within the Soothsayer? If they return to our
world, what will they do?

Those answers (and more) are in there, fused at every level to songs
of equal complexity and gravity. And the closer you listen, the
further you voyage into The Bedlam in Goliath, the more disquieting
and compelling the Volta's brilliant audiocelluloid epic becomes.
This album is the sound of a band playing— magnificently— for its
life. And it is a recording of such strange power that I believe the
Goliath that haunts them will be forever struck down.
Word.

— Jeremy Robert Johnson, October 27th, 2007, Portland, Oregon

The Zayin Division— A Second Stage Burial

I. I am the simian martyr's bullet-borne deliverance.
II. Ideomotor effect. Forced cryptomnesia. Your shroud returns stale
whispers. Ropes tighten at each limb.
III. He half-woke to a wild leopard, to blood-pregnant air, the smell
of his courted collapse. Laurel twigs crossed her hidden tools.
IV. The holy glyph floats close, its gray light angles suffuse the
bones now dust, flesh now jelly. Every cell shakes loose its viral
code. Supernus pacta sunt servanda.
V. Its hands swept through in the crooked mandible, the chemical
lobotomy swung blind, the monoxide possessions. All of it annelid
territory.
VI. Sandover light shone symbiotic until you saw it swallow-shift.
Your retractions granted final grace.
VII. I will not follow your collapsing oblivion.

—JRJ, October 28th, 2007, Portland, Oregon (First print copy interment)
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Old 11-06-2007, 02:20 AM   #4
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what
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Old 11-06-2007, 02:25 AM   #5
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read
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Old 11-06-2007, 02:28 AM   #6
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You fail at life.

This is the best item of journalism I've ever read.
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Old 11-06-2007, 02:29 AM   #7
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HeReTiK, GaTM and psychic sasquatch will have the balls to read this.
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Old 11-06-2007, 02:40 AM   #8
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Quote:
Originally Posted by CephalicExodus View Post
HeReTiK, GaTM and psychic sasquatch will have the balls to read this.
lol chyea i just smoked a bowl to prepare
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Old 11-06-2007, 02:44 AM   #9
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my god that guy LOVES that band. lmao it's an interesting story tho
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Old 11-06-2007, 02:49 AM   #10
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I am faarrr too drunk to read this right now, so just consider this a subscription post. Unless, of course, if someone wants to summarize it for me.
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Old 11-06-2007, 02:52 AM   #11
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Yeah, I love the band, but I'm not reading all of that.
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Old 11-06-2007, 04:04 AM   #12
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Quote:
Originally Posted by CephalicExodus View Post
The genesis of The Mars Volta's new album The Bedlam in Goliath is one
of the weirdest stories in the history of modern music, a tale of
long-buried murder victims and their otherworldly influence, of strife
and near collapse, of the long hard fight to push "the record that did
not want to be born" out into the world. And I swear we'll get to all
of that in a second.

But right now, before we drag any new passengers on the Volta Express
into the lunacy of The Bedlam in Goliath, we've got to bring them up
to speed. And so I present "A Very Brief History of The Mars Volta":
Back at the turn of the century guitarist/producer Omar
Rodriguez-Lopez and lyricist/vocalist Cedric Bixler-Zavala decided to
form a musical partnership called The Mars Volta. They grabbed a few
other intrepid musicians and recorded The Tremulant EP, which was
incredible and weird and proved these guys were trailblazing far from
the paths tread by their prior band, At the Drive-In.

Then they released De-Loused In The Comatorium, an astonishing album
that served as both an elegy for and celebration of their friend Julio
Venegas (as told through the fictional character Cerpin Taxt whose
life-and-death travails are chronicled via the songs). The album was
huge in terms of exposure, influence, and raw momentum.
Next came Frances the Mute, an album with a central plot, based,
sadly, on the loss of another friend (this time fellow musician and
bandmate Jeremy Ward). An equally bizarre and powerful album. For this
record and the remainder since, Omar has produced solo, dropping some
of the pop sheen that Rick Rubin brought to the first album in favor
of more experimental textures and structures. If De-Loused… was a dark
album, this thing is obsidian. And also inspiring. And majestic.
Most recently they released Amputechture, their first album with no
central concept (aside from stretching the boundaries of their prior
musical achievements). Omar worked as a director/conductor/visionary,
writing all the music and providing motivation, while Cedric stretched
his vocals and lyrics around multi-tiered songs about things like
modern witch-burnings, cultural oppression, and madness. The soaring
intensity of the single Viscera Eyes alone is worth the admission.
The tours supporting each of these albums have proven that The Mars
Volta is an endlessly ambitious group intent on turning a standard
concert into something transformative that can best be described as an
aural blitzkrieg. Saul Williams, no slouch when it comes to rocking a
stage, once joked that he rushed through his opening sets just so he
could watch the Volta sooner.

Point Being: If you don't have these albums, you need them. If you do
have them then you know exactly what I'm talking about and you're
anticipating The Bedlam in Goliath more than any other record this
year. And you know, as I do, that if the Volta comes to your town for
a show that you have to be there or a little bit of your soul dies.

That's a science fact.

Which brings us to the now, on the eve of the release of The Mars
Volta's stunning new recording. Which brings us to The Story.
Perhaps it's best to insert a prologue for this tale stating that some
(cynics, pragmatists, people who would like their life to be more
boring) may instantly respond with rolled-eyes and disbelief. And
that's okay. But others are willing to acknowledge that most
metaphysics may just be the elements of physics our brains can't quite
comprehend yet, and that there is a great power in words, and in
belief.

Quotes from two Volta compatriots offer a relevant lead-in:
"The things you speak to can shape your world. Look at Biggie. 'Ready
to Die.' Dead. Word."
— Saul Williams (again)
"This is the sound of what you don't know killing you. This is the
sound of what you don't believe, still true. This is the sound of what
you don't want, still in you."
—El-P

And so, all that being said, here is The Story (and various
annotations): Omar was in a curio shop in Jerusalem when he found the
Soothsayer. It seemed to him an ideal gift for Cedric, this archaic
Ouija-style "talking board." So it was then and there, in a city where
the air swims with religious fervor, in a shop that might as well have
carried monkey's paws and Mogwais, that Omar changed the fate of The
Mars Volta forever.

Had he known at that moment that the board's history stretched far
beyond its novelty appearance, that its very fibers were soaked
through with something terribly other, that the choral death and
desire of a multi-headed Goliath was waiting behind its gates… well,
he might have left it at rest there on the dusty shelves.

The Upside of That Choice: No bad mojo unleashed. Erase the madness
that followed. Erase the bizarre connection to a love/lust/murder
triangle that threatened to spill out into the present every time the
band let its fingers drift over the board.

The Downside: No Soothsayer means The Bedlam in Goliath never would
have existed. And it turns out that this demented spiritual black hole
of a muse has driven The Mars Volta to produce a crowning moment in
their already stellar career.

So if Omar hadn't given in to his curiosity and brought the Soothsayer
home to Cedric then the band would probably have been happier,
healthier, less haunted.

But you and I, Lucky Listener, we would have been robbed of one
fucking amazing album.

More on that in a moment.

Back up to the last big tour. The Volta and the Red Hot Chili Peppers
are tearing venues in half, retreating to their busses, rolling
through the night. But instead of the normal Rock God routines the
guys are sitting around Cedric's new Ouija board, which they've dubbed
the Soothsayer. And they love it— it's the new post-show addiction.
The Soothsayer offers them names: Goliath, Mr. Mugs, Patience Worth,
Tourniquet Man.

The Soothsayer offers them a story: It's always about a man, a woman,
and her mother. About the lust floating between them. About seduction
and infidelity. And pain. And eventually, murder. Entrails and absence
and curses and oblivion. Exactly the kind of spooky shit you'd want
from your Ouija.

Now here comes the rub.

The Soothsayer starts asking the band what they have to offer. This
connection that's set up runs both ways, and the invisible voices
begin to speak of their appetites.

They threaten oblivion and dissolution, or offer it as seduction. The
voices merge as Goliath, a metaphysical quagmire and unfed saint whose
hunger to return to the real world grows more urgent with each
connection.

There are proper ways to close this union, but The Mars Volta have
never been anything if not adventurous. They stay in contact— even
taking phrases from the board and inserting them as song lyrics— but
never offer themselves as surrogates. And so the starving Goliath
extends its influence.

Inexplicable equipment issues abound while on tour.
Conflict with the existing drummer escalates and results in a change
of guard. Ritual gives way to injury and Cedric is laid low by a
randomly (and severely) gimped foot.

A completely reliable engineer's mental composure cracks, pushing him
from the project. The tracks he leaves behind are desperately tangled.
Omar's music studio floods, threatening to send him right over the
same precipice as the engineer.

Long-term album delays hit and people aren't sleeping well.
Nonsensical words and phrases the board had previously spoken begin to
pop up in things like documentaries about mass suicide.
The Soothsayer keeps telling the same story but the details are
becoming more brutal.

One day the label on the board peels back revealing pre-Aramaic lingo
written across weird cone shapes.
It's bad mojo writ large, and things are crumbling quickly.
Worst of all, the board has shifted from pleas to demands.
To threats.

So they buried the fucking thing.

There are many ways to close a spiritual connection. Wear white for a
whole year. Surround yourself with salt. Close a board and ask someone
else to open it, thus transferring the ownership. Break the board into
seven pieces and sprinkle it with holy water. Or bury it.
pix or it didnt happen
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Old 11-06-2007, 04:33 AM   #13
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Oh ok.
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Old 11-06-2007, 05:24 AM   #14
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You fail at life.

This is the best item of journalism I've ever read.
Cephalic...I totally agree. That writing style was brilliantly vivid...so very on MV's wavelength. They would be happy with that review?preview? whatever it is. I can see why they would confide in him for his opinion.

This bands breaks all rules...so good. This generations Pink Floyd in my opinion.

For me Amputechture strayed from the revelatory foundations their two previous albums set forth. But after reading that analysis, I think my faith will be restored once again.

I cannot wait to hear this next opus. Those who have not indulged in Mars Volta's brilliance are truly missing out. And live they are a sight and sound to behold.
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Old 11-06-2007, 10:03 AM   #15
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Cephalic...I totally agree. That writing style was brilliantly vivid...so very on MV's wavelength. They would be happy with that review?preview? whatever it is. I can see why they would confide in him for his opinion.

This bands breaks all rules...so good. This generations Pink Floyd in my opinion.

For me Amputechture strayed from the revelatory foundations their two previous albums set forth. But after reading that analysis, I think my faith will be restored once again.

I cannot wait to hear this next opus. Those who have not indulged in Mars Volta's brilliance are truly missing out. And live they are a sight and sound to behold.
Agreed. I think this album will set them over the top, and will gain them the respect they deserve.
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Old 11-06-2007, 04:13 PM   #16
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when i have more time im definetly reading it.
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Old 11-06-2007, 06:15 PM   #17
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Decent band. Some people are WAY too into them.
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Old 11-06-2007, 06:55 PM   #18
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Decent band. Some people are WAY too into them.
<---

in the past 5 weeks or so, i've become very bored of Amputechture and Frances The Mute for the first time ever (after 500+ listens). can't wait for TBiG
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Old 11-06-2007, 08:09 PM   #19
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oh fuck..I'm too tired to read all that right now, but I want to..maybe tomorrow. lol

Quote:
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<---

in the past 5 weeks or so, i've become very bored of Amputechture and Frances The Mute for the first time ever (after 500+ listens). can't wait for TBiG
agreed, I listened to Amputechture on the train this morning, and it was like nothing..I didn't really feel anything.

TBiG needs to leak.
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Old 11-06-2007, 08:17 PM   #20
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some of that shit makes me think of the secret lol
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Old 11-17-2007, 08:24 AM   #21
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TBiG needs to leak.
3 tracks already have http://grindingtheapparatus.net/inde...catid=31#13855

"cedric's voice is even higher at certain points. the songs are more like amputechture's longer songs. pretty good"
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Old 11-17-2007, 12:49 PM   #22
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3 tracks already have http://grindingtheapparatus.net/inde...catid=31#13855

"cedric's voice is even higher at certain points. the songs are more like amputechture's longer songs. pretty good"


http://www.smnnews.com/board/showthr...ighlight=volta


I don't think it sounds anything like Amputechture. Just sounds like Bedlam to me. Cedric sounds different than on previous albums, which is great>
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Old 11-17-2007, 12:51 PM   #23
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sweet, thanks!
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Old 11-17-2007, 02:54 PM   #24
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Also, thats the artwork from the inside, not the front cover.
This is the front cover:

http://themarsvolta.com/puzzle/
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