The
Mars Volta
have definitely carved themselves a unique niche in modern
music, as evidenced by their studio output thusfar in their career. While
many compare their efforts to singer Cedric Bixler Zavala and
guitarist/principal songwriter Omar Lopez-Rodriguez's former band,
At the Drive-In,
I personally think that the similarities chiefly end with the
aforementioned members as well as their onstage energy. In fact, from
their first EP
Tremulant through to their latest studio offering
Frances
the Mute, the Mars Volta seemed to lend itself more to 70's progressive
rock and jazz pioneers like King Crimson, Yes, "On the Corner"-era Miles
Davis and the Mahavishnu Orchestra. In fact, many facets of the band
recalls the 70's, from the analog musical gear they use to fashion their
eccentric yet compelling sound to Omar's choice in shooting tour footage
strictly on analog film rather than a digital medium.
So how does such a band fare in translating this sound to a modern concert
audience? Their latest live release
Scab Dates suggests quite well and
sometimes more engaging than their much-lauded studio recordings. For
instance, "Concertina" becomes a more galvanized beast with a menacing phase
effect on the bass guitar and guitar volume swells during the verses which
then crescendo into the cathartic choruses. Also, keyboardist Ikey Owens is
featured much more prominently on this release, which allows the
compositions to bubble with many an organ run that makes you wonder, "Oh,
why didn't they turn him up in the studio?" Each song takes a more kinetic
urgency, in stark contrast to what many cite as overindulgences such as the
many ambient or downright white noise-y passages that weighed down
Frances
the Mute. In fact, in their place is alot of jamming, as evidenced on
"Haruspex". OK, they throw some craziness at the very beginning and end of
this release, which is indeed a little much.
However, for all the chances they take, there are some setbacks. For
instance, on this version of their epic "Cicatriz ESP", you get the sense
that Cedric's voice is really straining to hit the high notes, and some of
Omar's memorable guitar melodies in the verses get garbled by overuse of
effects. That said, bassist Juan Alderete and drummer Jon Theodore
definitely step up from the more tame studio version by dictating the
dynamic ebb and flow of this song into an ultimately inspiring jam. So
while the studio version is certainly not improved upon in this version,
this version becomes something quite different, as entire new sections are
added and stretched without feeling forced. Extra cool points awarded to
Cedric for quoting David Bowie's underappreciated song "Ashes to Ashes" (OK,
I suppose they escape the 70's every now and then).
While this album is a wonderful demonstration of how this ensemble presents
itself live, it would probably not be a good introduction to the band in
itself; I would personally tout "De-Loused in the Comatorium" as their most
accessible, coherent release. Also, the absense of accompanying visual
footage is most definitely felt, as DVDs of the band show their mercurial
stage presence. While this CD is assembled from various shows, it does
capture the band's strengths and weaknesses well and will only serve to add
to their building legacy as a band that refuses to conform to anyone's
expectations.
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