The Mars Volta Octahedron
Features Song Lyrics for The Mars Volta's Octahedron album. Includes Album Cover, Release Year, and User Reviews.
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First of all, I'm not quite sure why everyone is labeling this an 'acoustic' album.compared to their other albums, I guess this album seems acoustic because of its more subdued atmosphere. This album, which I have been anxiously awaiting for months, is not a dissapointment by any means, it is simply in a different vein. Omar, Cedric, and the Mars Volta group are known for forging ahead without looking back on their past projects, and this album exemplifies this attitude.
Following the Bedlam in Goliath, this album might seem like a day dream in terms of the amplitude, but the songs are just as well written as any other album. Next to Frances the Mute, this is some of Cedric's strongest lyrical writing (don't worry, they're still arcane and mysterious), and his vocals are compelling throughout. Most of the songs are more laid-back (I guess that's where the 'acoustic' feeling comes from).
Since We've Been Wrong begins slowly, with a single tone in the beginning, and grows from a soft, contemplative feel into a half-throttle rock ballad, and ends with the single tone. Teflon, Halo of Nembutals, and With Twilight as My Guide are all in the same direction of semi-rock/acoustical ballads, with Omar's spacey guitar stylings and ambient background sounds. The rockers of the album are Cotapaxi and Desparate Graves; these catchy tunes are sandwiched nicely in the middle of the album.
The group really plays well together with driving bass and guitar, and as I said before, Cedric is at his best. The last two songs, Copernicus and Luciforms, follow the style of the beginning of the album.
The lyrics to Luciforms are particularly interesting, give them a look. This album is a natural step forward for the Mars Volta group, and it reflects the solo projects that Omar has been working on. Don't be fooled by the 'acoustic' reviews, this album has some Rock in it, and the Guitar, Bass, and Drums will knock you out of the water when you least expect it, which is what makes this album so great!
Octahedron = 8 sides, and 8 tracks.pick it up and enjoy!
Review Summary: Wait, wasn't this supposed to be an acoustic album!? Why are there drums and stuff? And why is it so good? Here is the thing about Octahedron: it’s pretty much what EVERY PERSON WHO HATES THE MARS VOLTA HAS WANTED THEM TO MAKE FOR YEARS. The Mars Volta (and their fans by proxy) have prided themselves on being ridiculously spazzy, taking progressive music to places that while perhaps not new, that have not been fully explored.
Who can forget the progression “Drunkship of Lanturns” goes through, or the freak out after the chorus of “Day of the Baphomets”' Despite this, detractors have always bitched that the songs are too long; a revolving door of guitar wanking, nonsensical lyrics and superfluous song structure that isn’t fit for human consumption. 5 songs, 77 minutes' What the hell! So, Omar Rodriguez-Lopez and the gang have crafted a “pop” album of sorts, hinging about 2/3rds as long as nearly every other record they’ve done and much less prone to random bouts of ridiculous proggyness. Hailed as their “acoustic” album, one could say its an “acoustics” album; the album is completely driven by the mood and soundscape it creates.
This is a hail back to “Early era” ( Deloused in the Comatorium and Frances the Mute) Volta, an album completely driven by its concept instead of ridiculous bridges and jazz freak outs. While the lyrics are as immediately indecipherable as always, Octahedron seems to revolve around murder and deceit, and it is reflected in the sound of the record. Dark and brooding, Octahedron succeeds in creating tense atmospheres throughout. “Teflon” is arguably the most dense and heavy song the group has written, with thick bass and restrained, but intense drumming from Pridgen, while “Desperate Graves” is beautifully unhinged, similar to sections of “Cicatriz ESP”. Being their pop record, one has to assume singer Cedric Bixler-Zavala will have a major role upon its ultimate quality, and such an assumption would be true. While the last two Mars Volta records have seen Cedric overdub his voice perhaps a little bit too much (often three or more times with the same exact voice effect), here he goes back to the more natural singing styles of his earlier work.
There are still the overdubs and voice effects, but much more of it is clean singing, and the heights he reaches on “Halo of Nembutals” and “With Twilight as My Guide” are on the level of “CygnusVismund Cygnus” and “Cassandra Gemini”. When he does make extensive use of effects, its more than just random splattering; “Copernicus” is a sort of auto-tuned, at some points electronica-derived ballad that works incredibly well. It’s still a Mars Volta record, so expecting some ridiculous parts is required. “Cotopaxi” is pretty much the link to their previous record “The Bedlam in Goliath”, featuring a thunderous guitar riff and insane drumming and a frantic pace. So what if they haven’t come THAT far from “Inertiatic E.S.P”, it works so well.
However, generally the playing on this album is focused, and the fact that Omar “composes” all of the music himself is far more apparent than ever before. When the full band comes in on “Since We’ve Been Wrong” it is the opposite of what people would expect; an occurrence that makes complete tonal sense. In the end, Octahedron will simply divide those who like The Mars Volta and those who don’t again.
While there will be some side-switching, for the most part it isn’t the landmark record that will convince people who hate them to cross over to the light. It’s a pleasant listen, but perhaps not as diverse and frantic as a Mars Volta album should be, even one that is “acoustic”. However, the hooks are great and the melodies are beautiful, and while this will be the “oh yeah, that album” to a lot of uptight Mars Volta fans in the future, it’s an excellent change of pace for the band, and proves that they can indeed write spacey, esoteric mid-tempo songs instead ofwellspacey, esoteric breakneck songs.
1 of. If 'restraint' and 'improvement' somehow shared a synonym, it would be 'Octahedron'. No, this is The Mars Volta v2.0. While I believe that change is good, The Mars Volta should just stick to what they do best. A solid effort from the Volta, although not perfect. It has some parts which are not so me.
Mars Volta Octahedron Blogspot
The Mars Volta Octahedron Torrent
Could've been a classic, if only it was more consistent. Less is more.
'As I held you in crippled bandages, don't you stay up and wait for me'. El Marte Volta hace un cambio listo en el sonido como no competir con esfuerzos anteriores. We'll be lucky if we eat tonight.