FDF Volume 4 Issue 312 - The Mars Volta De-Loused In The Comatorium

Album – De-Loused In The Comatorium

Artist – The Mars Volta
Key Players – Jeremy Michael Ward – effects and sound manipulation. Flea – bass.* Isaiah “Ikey” Owens – keyboards. Jon Theodore – Drums. Omar Rodriguez-Lopez – guitar. Cedric Bixler-Zavala – vocals.

Produced By – Rick Rubin, Omar Rodriguez-Lopez

Release Date – June 24, 2003

Overview – This was the debut full length from “The Mars Volta”. Formed after the band “At the Drive-In” dissolved the Texas based band would unleash a frenzied album. Based on a character “Cerpin Taxt”, a man who has a week long coma as a result of morphine and rat poison. The layers of wild guitars mixed with Latin and jazz tones could be a challenge to listeners. Critics were mixed on the album at the time, some saying it was great, others not so great. It would sell over 500,000 copies in the US and would land on many year end “best of” lists.

FDF Comments (aka the songs) Ten songs, sixty minutes. That is what it takes. Opening with the atmospheric “Son Et Lumiere” made mostly of a slow guitar line from Rodriguez-Lopez and Owens keyboard work. As Bixler-Zavala comes in, the vocals are phased and it quickly goes to
"Inertiatic Esp" which has the band at a frenzied pace. The drums are tight and layers of keyboards balance somethings out but Rodriguez-Lopez attacks his guitar and Bixler-Zavala soars vocally as the pace just breaks all sort of time signatures and Theodore is the leader in bringing it all back to structure. Owens keyboard runs seem to blast off the speakers, but the chaos of the entire song is somehow so well put together yet frantic, its a wild listen. Tracks like “Roulette Dares (the Haunt of)” stretch in to seven minute territory and mesh so many styles (that Latin jazz comes in to play here) but the wings of prog rock and funk also flash from time to time. The listener can feel exhausted at times on tracks like this, but it stretches the bounds of a “rock song” that you dial in and just want to hear where they are going to go. From the full Owens keyboard runs to the monster fills from Theodore. It just leaps out at you. It does flatten some as it winds down and heads towards “Tira me a las Arans” which serves as an interlude with some layers of guitars but its really a palate cleaner before "Drunkship of Lanterns" comes at you. The salsa like percussion and feel has the first real noticeable Flea bass line, but its Rodriguez-Lopez and Theodore who seem to get an equal work out and some of the breakdowns during the track are short blasts of schizophrenic chaos, before the percussion sends it back towards a structure most listeners are used to. The Mars Volta challenge you, I keep saying that, but listen..its rewarding. You hardly get a come down as “Eriatarka” does much of the same. Bixler-Zavala is a little more laid back on his vocal delivery, at least for a bit before the 1:30 mark where they take off, but settle it back down quickly. Rodriguez-Lopez has his first real “solo” but it is short as it is flashy. The track that may sum up what the band is all about comes in  "Cicatriz Esp" (live). Just listen to that, it gives you the idea of what the band is about and what they are capable of, even if the last few minutes are sort of this ambient mixture of things...but it all comes back again, see..patience listeners. Patience. The band does seqway in to “This Apparatus Must Be Unearthed” and is as intense and layered as one has come to expect. The final two “Televators” (a surprisingly mellow song for the band) and “Take the Veil Cerpin Taxt” (a terrific closer) continue to fall in to that “challenging yet rewarding” pool.

Where are they now? - Ward died of an overdose weeks before this album was released. Theodore is now the touring drummer for Queens of the Stone Age. Owens has done a lot of studio and live work with artists from Saul Williams to TV on the Radio. He was the keyboard player for Jack White on his “Blunderbus” tour when White used his “male band” called “The Buzzards” (White used an all female band too called the Peacocks) Rodriguez-Lopez is currently on tour with his band “Bosnian Rainbows”. Bixler-Zavala has formed the band “Zavalaz”

FDF Overall Take - There is no doubt this can be a challenging listen. I recall when this came out and I'd say “its a challenge, but it is so rewarding too”. As listens progress you hear more layers, more subtle changes and it just gets to be more of a “whole picture” type thing. If you like some of the prog rock tendencies, mixed with heavier rock this could be for you. There is no doubt these guys are not talented and well skilled, but it lacking that 'verse/chorus/verse' that makes up what many folks listen to it can be hard to get your head around, but try. You can thank me later.

Links

Official Site

Buy It

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 4 Issue 311 - Jimmy Eat World - Clarity

Album - Clarity

Artist – Jimmy Eat World
Key Players – Rick Burch – Bass. Tom Linton – Guitar. Zach Lind – Drums. Jim Adkins – Vocals, Guitar

Produced By – Mark Trombino and Jimmy Eat World

Release Date – February 23, 1999

Overview – This is the third studio album from Mesa Arizona band “Jimmy Eat World”. They were formed in 1993 and have remained largely intact as a band. At the time the album was released it wasn't a huge success, but over time it has become one of the most acclaimed records of the 90's. Praised for its lyrics and dynamic musical performance. At the time, the band was dropped from their label after this record. Their follow up would be “Bleed American” and it would contain their lone top 10 single to date “The Middle”. That album also went platinum in the states. Over the years Clarity continued to garner praise and in 2009 the band embarked on an anniversary tour for the album, It was also re-issued. It is considered a landmark record in the “emo” genre and inspired many past and present bands with the blend of alternative rock and pop punk.

Many may read this and say that with all its height praise how is it 'forgotten” Perhaps that is not a fair name, but it was ignored at the outset, losing the band their label, but it deserves a mention.

FDF Comments (aka the songs) – Thirteen songs that span 64:12 of play time. Opening with the slow build of “Table for Glasses” Adkins is singing in hushed voice as Lind slaps out single drum notes under the slow guitar progression. The band puts their lyrics right out there, little to dissect as they are clearly and strongly voiced. The harmonies slowly build as the band builds slowly with intensity but it never fully blows up, it has a moment where it cuts back to chimes and keyboard notes before the vocals return, but the song ends quickly.  "Lucky Denver Mint" has Lind taking the lead on the drums before the melodic bass work of Burch comes in. The band seems a little more light and you can almost hear the smile in their harmonies. A solid stand out track. The intensity is there on

"Your New Aesthetic"  with the heavy drums and chugging guitars that work towards a short burst, to fall back to let the vocals take over once more. “Believe in What you Want” is not what always comes to mind when you hear “pop punk”. Sure the guitars are there, and the driving beat, but the band really works to harmonize well, and the layers are complex and interesting. Tracks like “A Sunday” wear their lyrical heaviness right on their sleeve and is quickly offset with the blistering

"Crush"  and then the lush melodies of “Ten”, this record really has something for all. “Just Watch the Fireworks” is the second longest cut on the record at just over seven minutes long and creates an intricate woven medley and with the false ending late in the track and the string section add such a massive feel. “Blister” is a appropriately names tune, just for its rocking speed. The title track is late on the record and the bass line of Burch is most notable as its up in the mix with the melodic fills. This is all a set up for the epic (16:11 long) “Goodbye Sky Harbor”. The repeated guitar lines over the basic drum and bass line seems to lull you, then drag you down some, but finally there are some vocals, albeit limited, that give you the sense it is changing some direction but it sits tight. There are some longer organ lines played as well and the same looping vocal and guitar portion remain. It gets taxing, but you also long to hear where its going to end up. The instruments are all but gone by the 12:30 mark and the looped and repeated vocals are sung long with a light percussion backup. 13:50 or so it gets all techno with electronic fills over the vocals and some additional percussion and chimes/vibes, that slowly then fades as well. Its a challenge to listen to, but somehow you don't mind the end result.

Where are they now? - The band is still together writing, recording and touring. They are currently on a tour to promote their 2013 album “Damage”.

FDF Overall Take -  This is a record that lives up to the accolades. When you hear a track that was played as much as “The Middle” it may be hard to think of what came before. The complexity of the tracks both musically and lyrically should appeal to many fans. Its a record you can hear for the first time over and over it has so many layers. Well worth your time.

Links

Official Site

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 4 Issue 310 - Audioslave - Audioslave

Album - Audioslave

Artist - Audioslave
Key Players – Chris Cornell – vocals. Tim Commerford – bass. Brad Wilk – drums. Tom Morello - guitar

Produced By – Rick Rubin

Release Date – November 19, 2002

Overview – Okay, before you freak out saying “how can you forget this its still on the radio” just take it as a whole record...that came out ELEVEN years ago ya old bastard. The band got together for a bit, then decided it wasn't working, so they tried it again. The rhythm section from Rage Against the Machine and the vocalist from Soundgarden would release three records over their short career. Blending the powerful lead vocals and bombastic bass, guitar and drums, the band would garner many fans and set themselves appear from their prior work. They'd be nominated for Grammy awards and tour the world. It wouldn't last though. Cornell would leave the band in 2007, thus ending it.

FDF Comments (aka the songs) – Fourteen tracks at over 65 minutes is pretty impressive for any debut and the band wastes little time doing in the big build on lead off single "Cochise"
 As expected the vocals are gruff and soaring at the same time. Commerford, Morello and Wilk are a very tight unit having spent years working together in Rage Against the Machine. The grinding bass and guitar are a common theme for the record. The first three songs made their way as radio singles (
"Show me How To Live" and “Gasoline”). All keep that common sludgy, rock/funk tone. Cornell has the pipes and singing along can be a chore even for the best shower singers. “Gasoline” has mellower feel, but it is one of the heaviest songs on the album. Cornell puts it down really well. Morello gets to flash off his choppy guitar lines ("What you Are") but many of the solos are short and on point. About as calm as they get are tracks in the vein of “Like a Stone” where the simple 4x4 time and verse chorus verse formula is used. No flash, just a catchy hook in the chorus and a screetchy/delay filled solo from Morello. The band shows the softer and melodic side on “I am the Highway” a cool, sit around the fire type sing along. Rocking chairs and acoustic guitars for all, while “Explorer” rips back like the album opener. “Bring em Back Alive” has the longest Morello solo. The usual hard chops and fuzzed out chords. The final two songs “Getaway Car” and “The Last Remaning Light” are mellower tracks that break some of the mold they've provided. Decent tunes to close it all out.

Where are they now? - Commerford has been doing some studio work (Sound City) and with Maynard from Tool on his side project Pucifer. Wilk was the studio drummer for the latest Black Sabbath release and keeps busy playing in various project and has done some acting work as well. Cornell is back with Soundgarden who released a new cd and they are currently on tour. Morello works sometimes solo as “The Nightwatchmen” and also has a new project called “Street Sweeper Social Club”. He also has worked in the studio with bands like Primus, and even was a touring guitar player for Bruce Springsteen. He is also a a political activist most notably with his cause "Axis of Justice"

FDF Overall Take - At the time of its release fans of Soundgarden and Rage Against the Machine were in heaven. The silence from each bands camp was deafening so when rumors and then a release happened it was a solid moment for fans. The songs have that rock staying power to be kept around and its little surprise the record still has singles played on radio. It was short lived but left quite the mark.

You can find the album easy enough.  Try here

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.