The Bedlam In Goliath

The Mars Volta are a band I've been aware of ever since their critically-acclaimed Deloused In The Comatorium opus of 2004. They've always been a band I've enjoyed, but for some arcane reason I never purchased an album of theirs until this year, on a chance visit to a shop in Germany. I'm certainly glad I did, as The Bedlam In Goliath proves The Mars Volta to be one of the most consistently brilliant bands producing music today. During the build-up for this album, main songwriter Omar Rodriguez-Lopez claimed this album would be more aggressive than previous The Mars Volta releases. Not that it's a new Anaal Nathrakh album or anything, but songs like Aberinkula and the beginning of Cavalettas explode out of the speakers with more force than anything the band have done to date. New drummer Thomas Pridgen is an absolute monster, and his muscular, intense style gives the band a burst of energy after the more laid-back Amputechture. You could argue that he lacks subtlety, but here at least, he fits perfectly .It's a return to the sharper, more concise, more song-oriented style of Deloused In The Comatorium. At the climax of Agadez, we even hear a part that could have almost come from Omar's and vocalist Cedric Bixler-Zavala's previous band At The Drive-In. Despite the new sound, it's still easily identifiable as The Mars Volta. The funky, almost danceable rhythms that made previous records such a fun listen are still present, particularly on standout track Ilyena. Cedric's lyrics are still as oblique as they've ever been, this time telling the bizarre story of a ouija board becoming a malevolent force and the trouble it caused the band, including flooded studios and mysterious foot injuries (you can read the full story on their website, and I suggest you do as it's pretty interesting, even if you don't believe in that sort of stuff) . Apparently it's this that caused the band to deviate from their normal one album a year schedule. I must write a little more about Cedric, as his vocal performance on this record is absolutely mind-blowing. I suppose his vocals are still something of a love-or-hate proposition, and I can think of many people who enjoy the music but absolutely cannot stomach his singing. He's singing in a slightly higher register compared to previous works, and he employs backing vocals a little more to give a richer sound. He's right at the forefront of the mix, so you can't exactly block him out if you hate his singing. The sound is completely dominated by the vocals and drums, while the keyboards are generally inaudible as they've always been. The horns aren't as prevalent as they were on Amputechture, generally pushed to the back, although they come to the front occasionally. Rather unusually, mastermind Omar Rodriguez generally plays rhythm guitar, with John Frusciante handling the leads. It feels a bit pointless to discuss actual songs here, as each one is sterling, from the opening of Aberinkula right through to the climatic Conjugal Burns. The transition from Wax Simulacra to Goliath has to be one of the most ridiculously cool things I've heard. And to be honest, much of this record makes me want to strut about like I own the place, especially when Askepios kicks into gear, or the laid-back funk grooves of Agadez, or... I could go on, but you really must hear this record for yourself. I've owned it several months now, and listened to it countless times, and yet I'm in awe every time. It's not metal in the slightest, so don't go looking for it here, but those prepared to take a chance will find the freshest, most exciting release of 2008 contained within.