The Mars Volta -- Bedlam in Goliath

The Mars Volta

Bedlam in Goliath

Anyone who has followed bands such as Circa Survive, The Sounds of Animals Fighting or Mew, know that their sounds are anything but ordinary. The Mars Volta however brings this uniqueness to a new level of ingenuity. Collaborating together a slew of sound using strings, guitars, electronic dubs, percussion and a wide variety of wind instrumentation puts this band on a pedestal as being one of the greatest performing groups of the new era.

Being as conceptual as they are, The Mars Volta is not afraid to dabble in the ways of the untouchable. Diving into the mentality of a drug-induced coma or walking through the life of a stranger are concepts never attempted by another, and yet again the band has taken a step into unclaimed territory in the art of conceptual musicality on their newest album, The Bedlam in Goliath. The interior of the album started with an archaic ouija-type board that was purchased in Jerusalem by lead guitarist, Omar Rodriguez-Lopez. The board, dubbed “The Soothsayer” was given to lead singer, Cedric Bixler-Zavala and was thereafter used as a pre-performance ritual by the band.

After numerous contacts before performances, the band started running into problems that almost led to the disbanding of The Mars Volta entirely. Their drummer, Blake Flemming, quit mid-tour; also during the tour, Bixler-Zavala needed surgery performed on his foot, resulting in him relearning to walk. As for the life of the new album, Rodriguez-Lopez's personal studio suffered many technical problems, and their album's first engineer had driven himself to madness, leaving the band with no info on the location of their masters for the new album. On the edge of the blade, Rodriguez-Lopez buried “The Soothsayer” swearing never to give away the whereabouts of it's grave. The album was thereafter completed with few issues and brought out on its newly set release date of January 29th, 2008.

The Bedlam in Goliath is almost built as a collaboration of the bands previous works with a slight reoccurrence of musicality from both Francis the Mute (2005) and De-Loused in the Comatorium (2003). An instant difference however is how the album begins. The opening track “Aberinkula,” rather than start with an ambiguously emotional crescendo blasts through your eardrums like a swift kick to the jaw. The bands new drummer, Thomas Pridgen, drives the band almost entirely with his snare throughout the whole track. Adrián Terrazas-González also isn't afraid to dive straight into his squall of a sax solo, giving the listener absolutely no time to prepare. Just by listening to this first track, you know that the entirety of this album is going to be full of some freaky shit; and that is exactly what the band prepares you for with that initial display of catastrophism (a word I have invented as of the release of this album).

Periodically throughout the album, tracks are ended twice to give the listener a feeling of ambiguity and incompleteness. The second half of these songs are slight permutations of the first half, while simultaneously adding an extra portion of eerie. A perfect example is in the song “Ilyena,” a name thought to be developed from the name, Iyanifa, the mother of destiny. Cedric Bixler-Zavala's illustrious vocal power and philharmonic dissonance entrances the listener in the second half of the song, looping the verse:

Can't spot through the lens

Bleeding through your

    sanctuary
Intention accident

Bleeding through your

                sanctuary

As this verse is drilled into the listeners mind, preparing them for the second half of the album, this banshee-like cantabile, is ever so slowly covered by an effect driven static.

The definite peak of the album is found in the track “Goliath.” Bixler-Zavala's voice is being pushed to its absolute, and as every refrain passes, Pridgen pulls the feel of articulate tempo directly towards him. Although Rodriguez-Lopez is driving the listener, he is ever slowly being pushed farther and farther by the sporadic snare of Pridgen. And just incase you didn't feel the swift kick to the jaw at the beginning of the album, the whole band comes down to almost a whisper, only to throw itself at you like a two ton hammer seconds later.

After this landmark of a track, the album comes to its only ballad, “Tourniquet Man.” The track itself acts as an interlude into what is to be expected in the second half of the album. The song structure itself chills the listener, as if asking if they want to go on, and yet again, The Mars Volta successfully keeps us pulled in.

The latter of the album is a horrific roller coaster ride looping through faint unthinkable atmospheres and once you think you finally have a grasp of the albums conceptual masterpiece, it stops dead in it's tracks. The final track, “Conjugal Burns” begins with a warped feeling of completion and invariably grows, reaching what seems to be a portrayal of torture. Curdling the blood of the listener, the last 30 seconds of the track ends mid-riff and leaves them wanting more.

With an album completely extracted from the calls of an archaic spirit board, you would think the album should only be taken in small doses, but with its consistent and strategically placed cliffhangers, it only beckons the need of the listener over and over. An amazing and well awaited addition for the fans of the band and milestone for the band itself.