The Mars Volta - Octahedron Review [2]
Posted by Enrique on 06.25.2009
Guitarist/songwriter Omar Rodriguez-Lopez has said his band’s fifth full-length is “[The Mars Volta’s] acoustic album,” which is an apt description. If that idea appeals to you, the album is great. But if you like The Mars Volta because they rock, prepare to be disappointed.
Band
Omar Rodriguez-Lopez – guitar
Cedric Bixler-Zavala – vocals
Isaiah Ikey Owens – keyboards
Juan Alderete de la Peña – bass
Thomas Pridgen – drums
Marcel Rodriguez-Lopez – percussion, synthesizers
John Frusciante – guitar
Songs
1. Since We’ve Been Wrong (7:21)
2. Teflon (5:04)
3. Halo of Nembutals (5:31)
4. With Twilight As My Guide (7:52)
5. Cotopaxi (3:38)
6. Desperate Graves (4:57)
7. Copernicus (7:23)
8. Luciforms (8:22)
When I first listened to The Mars Volta’s 2003 debut full-length De-Loused in the Comatorium, I was immediately impressed by its incredible energy and creativity. It sounded like the 21st century version of prog rock the world had been waiting for – technical, frenetic, and bloody good fun. Sometimes it feels like rock bands (as opposed to metal bands) are afraid to play fast, possibly concerned about turning off the general music buying public, but The Mars Volta displayed no such reservations.
So my main concern with Volta’s fifth album Octahedron is there’s no speed. Other than the occasional nice-and-tight drum fills, Octahedron is basically a slow, quiet album. While I don’t mind slow, quiet music occasionally, it’s a tricky thing to resolve when it conflicts with what made me a fan of the band in the first place. In that sense, many listeners may consider Octahedron to be a massive disappointment.
One thing I’ve respected (although not always appreciated) about The Mars Volta is they’re not afraid to challenge their audience. After the critical and commercial success of De-Loused they followed up with Frances the Mute, which retained most of its predecessor’s frisson and added a heavy dose of Latin rhythms and jazz. Less successfully, it also added extended movements of self-indulgent psychedelia, which were forgivable when surrounded by stronger material. With 2006’s Amputechture, Volta continued to expand on the droning, ornate side of its sound, and I could feel my interest in the band waning. But they won me back in a big way with last year’s Bedlam in Goliath, which reminded me why I liked the band in the first place – they’re damn clever, and they fucking rock.
Octahedron was reportedly already written by the time Bedlam came out, and band mastermind Omar Rodriguez-Lopez said in interviews at the time their fifth album would be Volta’s “acoustic album.” So we were warned. There’s certainly nothing wrong with a band departing from its sound, especially a band with a history of experimentation. As a matter of simple craftsmanship, the songs on Octahedron are well composed and at times beautiful. They can also be maddening and uneven.
Opening track “Since We’ve Been Wrong” doesn’t even begin until one minute thirty-seven seconds after pressing “play,” so the listener’s patience is tested before the first acoustic guitar strings are even plucked. The song is understated and “pretty” enough, thanks to Cedric Bixler-Zavala’s appropriately sweet-sounding vocals (which dominate the album overall, as opposed to his more typical melodic screams), but it never comes close to rocking. “Teflon” has more groove and power, moving at a deliberate pace that isn’t boring, but isn’t a knockout punch either. Still, it’s a good song, and one of the album’s highlights.
Another highlight is “Cotopaxi,” one of the few times the band cuts loose properly. It’s not as breakneck or outlandish as past material, but it’s definitely The Mars Volta you know and love, and one wishes all of Octahedron had been like this – notably more reserved, but not lacking in strength. In contrast, “Copernicus” and “With Twilight As My Guide” exemplify Volta’s weakest moments – they’re pleasant tunes, but quite slow and ultimately boring. The album almost ends on a strong note with “Luciforms,” which is probably the “proggiest” number here, but like the opening song it wastes the listener’s time with a tedious, sustained-single-note intro. It also features Octahedron’s only really ripping guitar work, so it’s not all bad.
Given the fact Volta publicized in advance the fact Octahedron would be a quiet affair probably should have mitigated my lukewarm reaction to the album. But it’s difficult to enjoy a band’s new record when it features few of the hallmarks you liked about the band originally. On the other hand, there’s nothing wrong with the songs, and when you’re in a mellow, trippy headspace, Octahedron may be satisfying. If the phrase “Mars Volta acoustic album” piques your interest, then you’ll probably think this album is fabulous. But if you’re a fan of Volta for reasons other than their introspective moments, you might want to wait until their next album.
The 411: Octahedron is a fine album that doesn’t really play to The Mars Volta’s strengths. The songs are enjoyable overall, but often they’re dull. This is not The Mars Volta you thought you knew, although it might be appealing if you’re in a reflective mood. But even as an attempt at experimentation, Octahedron is underwhelming. Not the best Volta album, and not essential.
