The Mars Volta - Octahedron 2009, Mercury Records

1 Since We've Been Wrong - 7:20
2 Teflon - 5:04
3 Halo of Nembutals - 5:30
4 With Twilight as My Guide - 7:52
5 Cotopaxi - 3:38
6 Desperate Graves - 4:56
7 Copernicus - 7:22
8 Luciforms - 8:21

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The Mars Volta – Octahedron

Cedric Bixler-Zavala and Omar Rodriguez-Lopez were the inevitable phoenix of creativity that arose from the ashes of At The Drive In. With their 5th studio album, “Octahedron”, The Mars Volta honed their musical explorations to a distinctive style that seems natural, considering the bands sometimes chaotic dynamics. Although the distinctive style of the Mars Volta is what defines their sound, “Octahedron” brings a new sense of maturity to its composition as the focus shifts to a slower, more melodic style. Fans will recognize that the melodic overtones that were inherent in their past works are clearly defined and have matured with “Octahedron”. Don’t misunderstand, the moments of spasmatic sonic chaos that come natural to the Mars Volta are still present, but these moments are less frequent than with past albums. This time through the melodic components are used more appropriately to build dynamics toward the barrage of vocal squeals and instruments dripping with effects.

Octahedron begins with a low drone of synthesized string chords that is also used as a transition device through many of the albums songs. The album unofficially opens with “Since we’ve been wrong” which is executed in typical Mars Volta fashion with swells of guitars harmonizing with each other as well as the vocal harmonies. Momentum is built and lost in this song as the band progresses from chorus to verse.

Trademark Omar Rodriquez-Lopez guitar style, “Teflon” begins with a ghostly whine of spacey guitars sounding very much like David Gilmour’s (Pink Floyd) technique. This ghostly guitar line serves as a permanent solo while the rest of the instruments keep the rhythm and push the song to its conclusion, only to have the low drone return, signaling the transition to the next song.

The Mars Volta conjure the image of a mechanized swampy landscape with the introduction to “Halo of Nembutals”. The swamp image is especially evoked in the songs choruses because the guitar sounds as if it’s being played underwater. As the song progresses we hear the random psychedelic ramblings of instruments clashing against one another as the song winds down to the now familiar low drone which leads right into the next song, “With twilight as my guide”. The ghostly whine of guitars returns in this song but this time are accompanied by a melodic acoustic arpeggio on guitar, and an eerie delayed synth line.

“Cotopaxi” is clearly the albums brightest star and clearly shows that the Mars Volta haven’t lost their aggressive touch. This song has thundering choruses with guitars dripping in effects while soaring over a somewhat awkward rhythm with weird noises aplenty. This song shows die hard fans that the Mars Volta haven’t lost their trademark sound. “Cotopaxi” would make a great single and a live version of the song is included as bonus material at the end of the album.

The low drone returns only for a brief moment as the albums track number turns to eight. If there is a clear example of the Mars Volta’s new found musical maturity, this is it. “Copernicus” is a slow song with haunting melodic guitars which provide another dynamic lull in the albums energy output. Employing a drum machine on this track gives the rhythm a disjointed, mechanical feel which seems to keep the rhythm only as much as the band wants it to. When it’s all said and done our good friend the low drone note shows up to signal us that the song is over and the final curtain isn’t far away.

“Luciforms” serves as the final curtain call on “Octahedron” but not until we hear a blistering solo (with less effects used) from Rodriquez-Lopez before we teeter on the brink of psychedelia once more as instruments crash and overlap one another, fighting for the last word in the bright spotlight.

The Mars Volta have come a long way since “De-Loused in the Comatorium”. Though it’s taken many years, The Mars Volta have crafted their sound to a fine point in which familiar fans of their work would recognize it as such and find familiar soundscapes. “Octahedron” keeps true to the creative style of the band, while expanding their dynamics in each song with many quiet/loud arrangements. It may not be their best album to date, but “Octahedron” will satisfy any fans lust for the eclectic style of The Mars Volta.

Review by Zack Brenneman

Global Entertainment Mag