My history with the bands Omar Rodriguez-Lopez was in, definitely does not start from day 1. In fact At the drive-in released their first album "Acrobatic Tenement" in 1996. I didn't discover them till 2000 and by that time they already had 5 records out. I think the main reason why was because they are from El Paso, Texas and had not really reached British Shores yet. But when "Relationship of Command came out that changed everything. They appeared on the front cover of NME which was where I discovered them. The cover showed the band where two of them sported afros and I thought to myself - I wonder what kind of music they make.
I hadn't actually heard them on the radio or TV by this point but decided to pick up "Relationship of command" from the record shop anyway. And it was fantastic - so high energy - mature punk rock at its finest. I say mature as they weren't in the same category as Blink 182 or anything like that. But it was strange to see a band like this in NME rather than Kerrang given how heavy and explosive they were. I remember they played a gig at the Arches in Glasgow. I was too young at the time to go but one of the guys at school, James M liked them too and was so tall he could get into gigs when he was underage easily. He said the gig was amazing.
I did go back and buy a few of At the drive-in's earlier albums but didn't really like them that much and nothing really stood out for me unlike "Relationship of Command". Some of the albums were actually really hard to get hold of as they took a while to make a name for themselves therefore not readily available. And the irony is when they did finally make a name for themselves they went on a "indefinite hiatus".
It was quite a few years later where I heard what the various members had been upto since the split. Singer Cedric and Omar formed The Mars Volta while other members went onto form Sparta. I never bought any Sparta albums but they are still going. But the true talent of At the drive-in came from Omar and Cedric. Those were the days before Twitter and Facebook so I was actually unaware the released an EP and then their first album "De-Loused in the Commatorium". They actually supported the Red hot chili peppers on an arena tour round the UK with that album too. Something I was gutted I missed when I eventually discovered their existence.
But when I did discover them and bought "De-Loused" what I found was a terrific album. At the Drive-in were so ferocious and straight to the point. The Mars Volta still had this intensity but they let their ideas flourish without boundaries. Leading to longer and even better tracks. "Cicatriz Esp" especially was like 12 minutes long and has such a great build up and then climax. "Televators" was another favourite as it was more of a dreamy chilled out track.
In 2005, The Mars Volta released their second album "Frances the Mute" with lead single "The Widow". This was the only single to come off the album since it was the only track on the album that was less than 10 minutes long! This was actually one of the first album reviews I ever did and I actually said at the beginning of it on first listen it just sounds like a complete mess. They actually had to split up a few of the longer tracks in order to call it an album rather than a five track EP. I am glad I stuck with this album though as I still think its one of the best records in my CD collection. I mean the last track "Cassandra Gemmni" is 32 minutes long and they totally pull it off. But there really is so much to discover and unearth on this album. Its just the album that keeps on giving.
I actually went to see The Mars Volta when they toured this album at the Barrowlands. I was with my brother and I'm pretty sure one of the guys I used to work with, Ronnie and his mate were there too. As we had quite a crossover in tastes of music. This was the first and last time I'll get to see "Cassandra Gemmini" played live I think given its length and the amount of material they have now. One thing I also loved though was the extended jams and the energy they put into their performance.
After releasing Frances the Mute though where on earth do you go with your next album?! The answer was "Amputechture". This wasn't an album I really got into that much. "Viscera Eyes" was a great song and had this amazing riff. I did get into some other tracks later on down the road but in general I skipped over this record and they didn't actually tour Scotland with this record either.
Then they pulled me back in when they released "The Bedlam in Goliath". This was a slightly less prog record than the first 3 outings. But it still had that Mars Volta stamp on it. I really got into this album though and during the 3-4 months after it came out I was listening to nothing else. The track "Goliath" in particular was epic. I went to see them on this tour too with a guy called Phil and his mates who I had met through friends from school. It was at the then Carling Academy in Glasgow. It was clear then they were getting even better live as the jams got longer as well as the random improv bits between songs. They had no support either and played for 3 hours. This was the last time I saw them on tour.
It wasn't long till their next album got released. Bedlam was 2008 and the next album "Octahedron" was out the very next year. I actually always thought of this album as an EP since it was only 8 tracks. But looking back on it, its actually still more of an album that most out there. 50 minutes run time says it all. "Since we've been wrong" was such a great song that really stood out for me on this one. I wouldn't say the album was De-loused, frances the mute or Bedlam level but it wasn't far behind.
There was a 3 year gap to their 6th studio album "Noctourniquet" which was to be Mars Volta's final album as they split after this. This was an album I thought was a real let down. Mars Volta have a reputation for being exciting, imaginative and really trying to stand out from the crowd. This album really had none of those things and felt like the passion had just been sucked out of each member. It was almost like they knew that so just called it a day.
In terms of Omar's solo stuff, his first album "A Manual Dexterity: Soundtrack Volume 1" was released 2004. While he was in the The Mars Volta he released a number of albums. In fact through to when Mars Volta had split in 2012 he had released 25 albums. So maybe "released a number of albums" maybe a bit of an understatement. I reviewed 5 of these albums. Normally with another artist reviewing that many albums would cover over a decades worth of music from that artists career. With Omar reviewing this number of albums feels like I'm just scratching the surface. And remember he was the lead writer in one of the biggest progressive rock bands during the 2000s while producing and writing these 25 other records. The albums I did listen to, and I did listen to more than I reviewed. I found that the albums were very diverse and also some suited my tastes and some didn't while others languished somewhere in between. One of my favourites was The Apocolypse Inside Of an Orange. One of the tracks on here in particular used the riff from Viscera eyes as the kind of backbone to the track. But this lasted 20 minutes and was absolutely mesmerising.
But after these 25 albums Omar was far from done. In fact between 2013-2017 he released another 27 solo albums. In fact at the end of 2016, start of 2017 he released an album every week. It was almost impossible for anyone to keep up even if they could afford to give that much to one artist. And to my knowledge only a handful of these albums are actually on Spotify. There is some good stuff in there though from what I have listened to.
Omar also formed a band called Bosnian Rainbows and later with Cedric a band called Amtemasque after the demise of Mars Volta. Both bands were short lived and released an album with each of them. They were ok albums but I knew they were capable of so much more. Then At the drive-in reformed and released int er a li a. It wasn't quite as good as Relationship of command but it wasn't far off. It was enough to put them back on the map and start playing to bigger crowds again which still hadn't forgotten them from their glory days in the Mars Volta. I went to see them as part of this tour with Campbell. They were still going as crazy as ever on stage. Most of the performance was mainly sticking to how the songs were played on record rather than going off on tangents like they did in the Mars Volta shows. But it was still an amazing gig.
The real question with Omar is just how many albums has he got left in him. He has been involved in so many you just wonder at what stage do you run out of ideas.
Showing posts with label Omar Rodriguez-Lopez. Show all posts
Showing posts with label Omar Rodriguez-Lopez. Show all posts
Monday, 25 May 2020
Sunday, 29 July 2018
Omar Rodriguez-Lopez - Blind Worms Pious Swine
Normally I start off album reviews by saying this is the 1st or 2nd album by so and so. With Omar Rodriguez - Lopez I am actually in disbelief the amount of records he has released as a solo artist. Never mind what he has done with his various other bands - Mars Volta, At the drive-in etc. "Blind Worms Pious Swine" is the 29th ALBUM by Omar! This was released in 2016 and he has released 20 more albums since then! Although its clear he is a very busy man, some of these albums were stock piled as they were recorded between 2008 and 2013. But even still he is a total machine.
I did keep on top of his releases in the early days but found myself going off him a bit. And then when he announced in 2016 he was releasing 11 albums which were to be released every fortnight I just could not keep up. I thought this was just too much and wanted to listen to more than just one artist. But what made me come back now? Well I was listening to Mars Volta on Spotify, then after the album finishes it goes into similar tracks which they think you'll like. A track called "Lights" off of "Blind Worms Pious Swine" came on and I absolutely loved it. Interestingly this is a cover of the Ellie Goulding song and is the only cover of a song ever to feature on an Omar album.
As you would imagine with a solo album, Omar takes control of most things, such as guitars, synth, bass and some of the vocals. But also featuring on this album is Deantoni Parks on drums. And also Teri Gender Bender on main vocals from Les Butcherettes. The first 7 tracks on this album do have do vary from song to song and it is just really nice melodic alternative music. But it has this extra edge to it due to Omar's musicianship. These songs would sound good in basic form but Omar always adds these extra effects or guitar wizardry just to take the tracks to the next level.
The thing is the first 7 tracks feel like the first half of the album. If you are listening from track 8 onwards for the first time it is a bit of a surprise in a way. But if you have heard Omar at all in the past its probably not really surprising at all! And this is a very good thing. The vocals disappear on the last 4 tracks and it just sounds like a full on jam session. It is marvellous.
Although I never really stopped listening to At the Drive-in and the Mars Volta. This album has really made me want to get into more of Omar's solo stuff again. This album shows that even if you didn't like some of the album. You do need to listen to it all the way through as you just don't know what is around the corner.
Saturday, 25 November 2017
Omar Rodriguez-Lopez - Omar Rodriguez Lopez and Jeremy Ward
Every time I buy an Omar record I expect it to be weird and far out there. To me it comes with the territory. He and Cedric left At the Drive-in because they wanted to push the boundaries of music and become more progressive. Omar plays a key part in what makes the Mars Volta that weird, compelling, experimental rock band that challenges the listener in every way. So when unleashed on his own; you expect him to push the boundaries even further. Most of the Omar records I have had the pleasure of listening to, although showing that creative spark, are incredibly listenable and yet still hold the challenge that makes Mars Volta records so gripping. Well, that was until I heard this CD...
The album was recorded back in 2001 after the demise of At the Drive- in and before the birth of The Mars Volta. If I was to pigeon hole this album I would put it in the EDL category, which stands for `Extremely Difficult Listening'. It is without doubt one of the worst CD's in my collection. To give you an idea of what it sounds like, think of the buzzing noises you get when trying to tune in a radio and the variation of sounds you get when you nearly pick up a channel. Now try listening to this sound pretty much continuously for 44 minutes. Well that is pretty much sums up this whole album. In the third track `Salvo' in around the 13 minute mark it is like they finally found a station when the word `Weapons' is heard followed by further murmurs before moving back to the irritating buzzing.
This album really is a test of strength. Anyone who has listened to this album more than 10 times (I'm on my third listen) I would really like to hear what they hear in the album that I'm missing. How this record was split into tracks and the reason behind track selection I think only Omar knows. If you're not looking at your CD player you wouldn't know the first track `Sounder of Tame Swine' lasts 2 minutes and 43 seconds while the third track `Salvo' lasts 14 minutes and 18 seconds. Then there is the task of trying to work out what the track names mean and how they relate to the tracks. It just seems impossible.
There are two tracks on the album which stand out head and shoulders above the rest; the fouth track `Impoverished Beliefs' and similarly titled ninth track `Improvised Beliefs'. These tracks showed signs of sanity within the record with a sign of tune until the noises come back and the awkward listening is apparent once again.
Overall this album shows that there are no boundaries to Omar's creativity and imagination. I hold up my hands to him for trying to push the limits with this record. As much as I don't like it, I can appreciate that Omar does like to push the boundaries of his music further and takes more of a risk in doing so. In turn it means that people may not understand what or why he made this album and then released it to a wider audience when it was originally just for family or friends. But at the same time if there is one person out there who does think it is a good record, maybe it was worthwhile releasing it. For me though it is a step too far and should be avoided and I would strongly recommend saving your ears for his more recent stuff.
The album was recorded back in 2001 after the demise of At the Drive- in and before the birth of The Mars Volta. If I was to pigeon hole this album I would put it in the EDL category, which stands for `Extremely Difficult Listening'. It is without doubt one of the worst CD's in my collection. To give you an idea of what it sounds like, think of the buzzing noises you get when trying to tune in a radio and the variation of sounds you get when you nearly pick up a channel. Now try listening to this sound pretty much continuously for 44 minutes. Well that is pretty much sums up this whole album. In the third track `Salvo' in around the 13 minute mark it is like they finally found a station when the word `Weapons' is heard followed by further murmurs before moving back to the irritating buzzing.
This album really is a test of strength. Anyone who has listened to this album more than 10 times (I'm on my third listen) I would really like to hear what they hear in the album that I'm missing. How this record was split into tracks and the reason behind track selection I think only Omar knows. If you're not looking at your CD player you wouldn't know the first track `Sounder of Tame Swine' lasts 2 minutes and 43 seconds while the third track `Salvo' lasts 14 minutes and 18 seconds. Then there is the task of trying to work out what the track names mean and how they relate to the tracks. It just seems impossible.
There are two tracks on the album which stand out head and shoulders above the rest; the fouth track `Impoverished Beliefs' and similarly titled ninth track `Improvised Beliefs'. These tracks showed signs of sanity within the record with a sign of tune until the noises come back and the awkward listening is apparent once again.
Overall this album shows that there are no boundaries to Omar's creativity and imagination. I hold up my hands to him for trying to push the limits with this record. As much as I don't like it, I can appreciate that Omar does like to push the boundaries of his music further and takes more of a risk in doing so. In turn it means that people may not understand what or why he made this album and then released it to a wider audience when it was originally just for family or friends. But at the same time if there is one person out there who does think it is a good record, maybe it was worthwhile releasing it. For me though it is a step too far and should be avoided and I would strongly recommend saving your ears for his more recent stuff.
Omar Rodriguez-Lopez - Omar Rodriguez-Lopez and Lydia Lunch -
I don't think there is an artist in the world right now that is making and releasing more albums than Omar Rodriguez-Lopez. The man is clearly on creativity overload as this is his 4th album, with many more releases spanning 2007 and 2008. The main difference with this album compared to the rest of his albums is that the lyrics on this album are spoken rather than sang. Omar Rodriguez-Lopez collaborates with Lydia Lunch on this album who is a spoken word artist. The lyrics are so controversial that you would probably expect them to be on rap albums rather than a progressive rock album. But somehow this just works.
The album kicks off as it means to go on with opening track `Welcome to my church' throwing the album straight into a prog, jazz fusion style; mixing Omar's frantic electric guitar with saxophone performed by Adrian Terrazas-Gonzalez, keyboards performed by Money Mark, bass performed by Juan Alderete and drums performed by Marcel Rodriguez-Lopez. This sound is consistent through the whole album as Omar delves into his own world. But it is the collaboration with Lydia Lunch who delivers the vocals which is really the focal point of the album which says a lot considering the exquisite musical backdrop.
Although the album is only 5 tracks and 24 minutes in length, because the theme is the same all the way through, I feel Omar has done enough without over doing it. It is more of a concept album about god, women and war with the tracks having equal weighting than any particular song standing out. Opening track `Welcome to My church' kicks off the controversial lyrics with Lunch displaying her dark humour with lyrics like, `No women has never started a world war, No women has ever stopped a world war either'. In the second track `Getting Rid of God', it is the saxophone which takes centre stage for the first half of the track till it is back to Lunch's rants.
Third and fourth track, `Back to the Goddess' and `The end of a white man's revelation' continue in the same vein setting the scene nicely for album closer `Woman (In the beginning)' where Omar lets himself loose on the guitar with in my opinion his best work of the whole album. The controversial lyrics continue with `We should have bombed the women of Afghanistan and Iraq'. If you think these lyrics are controversial or are offended by them this album is probably worth a miss as it does get more extreme. For me though Lydia Lunch offers a different way of looking at things, I don't agree with most of the things she says but at the same time her voice does fit with the music and the vocals are delivered in a tongue and cheek style.
Overall this is a very good album. Some of the statements made may shock you. But I think the point of the album was to make an impact on this listener and to make them think in a different way. Some may be offended, others may agree with what Lydia Lunch says. However one thing is for sure the frenzied music on display is once again of very high standard and kudos for Omar for experimenting his music with the spoken word.
The album kicks off as it means to go on with opening track `Welcome to my church' throwing the album straight into a prog, jazz fusion style; mixing Omar's frantic electric guitar with saxophone performed by Adrian Terrazas-Gonzalez, keyboards performed by Money Mark, bass performed by Juan Alderete and drums performed by Marcel Rodriguez-Lopez. This sound is consistent through the whole album as Omar delves into his own world. But it is the collaboration with Lydia Lunch who delivers the vocals which is really the focal point of the album which says a lot considering the exquisite musical backdrop.
Although the album is only 5 tracks and 24 minutes in length, because the theme is the same all the way through, I feel Omar has done enough without over doing it. It is more of a concept album about god, women and war with the tracks having equal weighting than any particular song standing out. Opening track `Welcome to My church' kicks off the controversial lyrics with Lunch displaying her dark humour with lyrics like, `No women has never started a world war, No women has ever stopped a world war either'. In the second track `Getting Rid of God', it is the saxophone which takes centre stage for the first half of the track till it is back to Lunch's rants.
Third and fourth track, `Back to the Goddess' and `The end of a white man's revelation' continue in the same vein setting the scene nicely for album closer `Woman (In the beginning)' where Omar lets himself loose on the guitar with in my opinion his best work of the whole album. The controversial lyrics continue with `We should have bombed the women of Afghanistan and Iraq'. If you think these lyrics are controversial or are offended by them this album is probably worth a miss as it does get more extreme. For me though Lydia Lunch offers a different way of looking at things, I don't agree with most of the things she says but at the same time her voice does fit with the music and the vocals are delivered in a tongue and cheek style.
Overall this is a very good album. Some of the statements made may shock you. But I think the point of the album was to make an impact on this listener and to make them think in a different way. Some may be offended, others may agree with what Lydia Lunch says. However one thing is for sure the frenzied music on display is once again of very high standard and kudos for Omar for experimenting his music with the spoken word.
Omar Rodriguez-Lopez - The Apocolypse Inside Of an Orange
Omar's fourth studio album, sees Omar bring in Juan Alderete on bass, Money Mark on keyboard and synthesizer, Adrian Terrazas-Gonzalez on saxophone and bass clarinet and finally Omar's brother, Marcel Rodriguez-Lopez on drums to form the Omar Rodriguez Lopez Quintet. Although recorded in 2005 in Amsterdam, it was not released on CD until earlier on this year.
The album starts off like a chilled out jazz rock album with saxophone dominant opening track `Melting Chariot'. Then second track, `Knee Deep in the Loving Hush of Heresy' heads straight in to a frenzied, intensive blast of heavy guitars and drumming, before heading back into that chilled out zone, like that of the first track. The track bounces between the frenzied moments and the chilled out moments, often with a short pause after the frenzied moments showing the band's tightness and timing. The track exits on a high with the crazy guitar and drumming which sets the scene nicely for the next track.
The third track of the album, for me is the centrepiece of the whole album. At over 18 minutes and 39 seconds in length, `Jacob van Lennepkade II' accounts for nearly a third of the hour plus long album. The track is based on the riff from `Viscera eyes' from The Mars Volta's third album `Amputechture'. In my opinion it is one of the best riffs Omar has created out of all the stuff he has done with The Mars Volta, At the Drive-in and his solo stuff. Both of these tracks appear to be written at the same time by Omar during his stay in Amsterdam. While `Viscera eyes' was over 9 minutes on the album, it was reduced to just over four minutes to be a single.
In `Jacob van Lennepkade II' the riff is a mainstay throughout the track, as other instruments and effects come and go to keep the track not only interesting, but also most enjoyable. After a quick search on the internet `Jacob van Lennepkade' appears to be a street in Amsterdam which may be where Omar stayed or recorded this album. The guitar solo around the 7 minute 30 second mark is a particular highlight. While there is a sublime saxophone solo which comes in about 10 minutes 30 seconds into the track, reaching its peak in the 11 minute 30 second mark and it doesn't finish until the 14th minute. I just love the way the ideas are allowed to fully expand within the track as if time is not important. The track makes The Mars Volta seem like an accessible band even though we all know that is not true. This track instantly makes the album stand out amongst his others and shows Omar's true talent in not only his guitar playing ability but also his song writing ability.
If the first two tracks build up to the centerpiece then the last five tracks are definitely the come down. The first of these tracks, `Fuerza de Liberacion' is destroyed with bad vocals courtesy of the `Voice 4' which Omar uses to create vocals which sound like he has put his fist in his mouth as you can hardly make out what he is saying. After this hiccup the album returns to the nice chilled out sounds of `Spared from the Insult List' and `Baby Fat'. Then the album takes an interesting turn with the 11 minute, eerie `The Apocalypse Inside of an Orange'. It is the only track on the album without out any bass or drums. It would be a great soundtrack for a Horror movie. I can just imagine this music playing in the background as a group of people enter the pyramids in Egypt who are really crept out by all the tombs and scared by any sound they hear. Album closer `Comapony' displays arguably Omar's best guitar work on the album. It is one of those tracks where I recognise the tune but I have no idea where from. No doubt from one of The Mars Volta albums.
Overall this is the best Omar album I have heard so far and I currently own 7 of them. Not only is it filled with Omar's great guitar work, but it is Adrian Terrazas-Gonzalez's exquisite saxophone playing that really defines the album and is what makes it different and refreshing. `Jacob van Lennepkade II' makes the album worth a purchase by itself. But you can't forget the other tracks as they offer great variety and depth to this well structured album.
The album starts off like a chilled out jazz rock album with saxophone dominant opening track `Melting Chariot'. Then second track, `Knee Deep in the Loving Hush of Heresy' heads straight in to a frenzied, intensive blast of heavy guitars and drumming, before heading back into that chilled out zone, like that of the first track. The track bounces between the frenzied moments and the chilled out moments, often with a short pause after the frenzied moments showing the band's tightness and timing. The track exits on a high with the crazy guitar and drumming which sets the scene nicely for the next track.
The third track of the album, for me is the centrepiece of the whole album. At over 18 minutes and 39 seconds in length, `Jacob van Lennepkade II' accounts for nearly a third of the hour plus long album. The track is based on the riff from `Viscera eyes' from The Mars Volta's third album `Amputechture'. In my opinion it is one of the best riffs Omar has created out of all the stuff he has done with The Mars Volta, At the Drive-in and his solo stuff. Both of these tracks appear to be written at the same time by Omar during his stay in Amsterdam. While `Viscera eyes' was over 9 minutes on the album, it was reduced to just over four minutes to be a single.
In `Jacob van Lennepkade II' the riff is a mainstay throughout the track, as other instruments and effects come and go to keep the track not only interesting, but also most enjoyable. After a quick search on the internet `Jacob van Lennepkade' appears to be a street in Amsterdam which may be where Omar stayed or recorded this album. The guitar solo around the 7 minute 30 second mark is a particular highlight. While there is a sublime saxophone solo which comes in about 10 minutes 30 seconds into the track, reaching its peak in the 11 minute 30 second mark and it doesn't finish until the 14th minute. I just love the way the ideas are allowed to fully expand within the track as if time is not important. The track makes The Mars Volta seem like an accessible band even though we all know that is not true. This track instantly makes the album stand out amongst his others and shows Omar's true talent in not only his guitar playing ability but also his song writing ability.
If the first two tracks build up to the centerpiece then the last five tracks are definitely the come down. The first of these tracks, `Fuerza de Liberacion' is destroyed with bad vocals courtesy of the `Voice 4' which Omar uses to create vocals which sound like he has put his fist in his mouth as you can hardly make out what he is saying. After this hiccup the album returns to the nice chilled out sounds of `Spared from the Insult List' and `Baby Fat'. Then the album takes an interesting turn with the 11 minute, eerie `The Apocalypse Inside of an Orange'. It is the only track on the album without out any bass or drums. It would be a great soundtrack for a Horror movie. I can just imagine this music playing in the background as a group of people enter the pyramids in Egypt who are really crept out by all the tombs and scared by any sound they hear. Album closer `Comapony' displays arguably Omar's best guitar work on the album. It is one of those tracks where I recognise the tune but I have no idea where from. No doubt from one of The Mars Volta albums.
Overall this is the best Omar album I have heard so far and I currently own 7 of them. Not only is it filled with Omar's great guitar work, but it is Adrian Terrazas-Gonzalez's exquisite saxophone playing that really defines the album and is what makes it different and refreshing. `Jacob van Lennepkade II' makes the album worth a purchase by itself. But you can't forget the other tracks as they offer great variety and depth to this well structured album.
Omar Rodriguez-Lopez - Minor Cuts and Scrapes In The Bushes Ahead
Released in 2008, `Minor Cuts and scrapes in the bushes ahead' was recorded just after The Mars Volta released the Tremulant EP back in 2001. The album `Absence makes the Heart grow fungus was released at the same time as this album and likewise was recorded back in 2001. While `fungus' was a more guitar/saxophone led album; `Minor cuts' is more experimental in its sounds with Omar using drum loops, sequences, synths, keys and programming.
Omar is joined on the album by now deceased Jeremy Michael Ward who appears with Omar on vocals for track 6 `Thankless serpent' and on his own on track 11 `Atrotecism Fenleon'. While Omar's brother Marcel Rodriguez Lopez once again takes up drum duty. Unlike the other album Jeremy appeared on, the self titled `Omar Rodriguez Lopez and Jeremy Ward'; this album is a lot more listenable. Particularly the second track and longest track on the album `Trident resting on the pulse' has a nice beat to it with some cool effects which are pre-dominant throughout the album.
Although there are some nice guitar parts on track `Pawn shop blues' delivered by Omar himself. The album on the whole is difficult to get into and is not one I will be listening to regularly. Track 4 `Electidorphines' is a particularly in-audible track as the effects are just too high pitched and will make you squirm. Compared to `Fungus' the tracks don't feel as complete making the album a lot harder to get into because of this.
The vocals on track 6, `Thankless serpent' is just talking to randomly placed effects. It doesn't work nearly as well as the stuff he did with Lydia Lunch. The keyboard appearance on track 7 `Devouring a sibling' is a welcome break from all the mad effects. Just a simple piano sound and as the track goes on the effects come in. This time though the effects are better placed making it one of the better tracks on the album. Track 10 `Pinching invention' is another track which works well and is nice chilled out track without being drowned out by the distorted effects. The drumming is a particular highlight on this track although I'm not sure if it is Marcel drumming here or Omar is using a drum loop.
Overall this is far from one of Omar's better albums. There are a few good tracks and certain instruments in certain tracks which sound great but are often drowned out by other effects. It is much better than `ORL and JW' album but to be honest it is not hard. If you want experimentation created from synths, programming and anything else Omar could get his hands on, check this out. But if you want to hear Omar in his prime I would recommend the albums which he has recorded more recently; especially those in the Amsterdam series.
Omar is joined on the album by now deceased Jeremy Michael Ward who appears with Omar on vocals for track 6 `Thankless serpent' and on his own on track 11 `Atrotecism Fenleon'. While Omar's brother Marcel Rodriguez Lopez once again takes up drum duty. Unlike the other album Jeremy appeared on, the self titled `Omar Rodriguez Lopez and Jeremy Ward'; this album is a lot more listenable. Particularly the second track and longest track on the album `Trident resting on the pulse' has a nice beat to it with some cool effects which are pre-dominant throughout the album.
Although there are some nice guitar parts on track `Pawn shop blues' delivered by Omar himself. The album on the whole is difficult to get into and is not one I will be listening to regularly. Track 4 `Electidorphines' is a particularly in-audible track as the effects are just too high pitched and will make you squirm. Compared to `Fungus' the tracks don't feel as complete making the album a lot harder to get into because of this.
The vocals on track 6, `Thankless serpent' is just talking to randomly placed effects. It doesn't work nearly as well as the stuff he did with Lydia Lunch. The keyboard appearance on track 7 `Devouring a sibling' is a welcome break from all the mad effects. Just a simple piano sound and as the track goes on the effects come in. This time though the effects are better placed making it one of the better tracks on the album. Track 10 `Pinching invention' is another track which works well and is nice chilled out track without being drowned out by the distorted effects. The drumming is a particular highlight on this track although I'm not sure if it is Marcel drumming here or Omar is using a drum loop.
Overall this is far from one of Omar's better albums. There are a few good tracks and certain instruments in certain tracks which sound great but are often drowned out by other effects. It is much better than `ORL and JW' album but to be honest it is not hard. If you want experimentation created from synths, programming and anything else Omar could get his hands on, check this out. But if you want to hear Omar in his prime I would recommend the albums which he has recorded more recently; especially those in the Amsterdam series.
Omar Rodriguez-Lopez - Absence Makes The Heart Grow Fungus
Released in 2008, `Absence Makes the Heart grow Fungus' has been sitting in Omar's locker for seven years. Therefore it was recorded well before Omar's quintet/group formed. The two other people who appear on the album are Jon Philip Theodore and Sara Christina Gross. Jon was the original drummer with Omar's main project The Mars Volta until being replaced by Thomas Pridgen. Meanwhile Sara plays the saxophone on `Fungus'. Sara met Omar as Sara's band `Radio Vaya's' only album was produced by Omar. Finally Omar plays guitar along with providing all the other effects on the album.
The album begins with `Hands tied to the roots of haemorrhage'. For starter the track sounds like a game of space invaders before exploding into a fantastic tune. Omar's guitar playing is brilliant and really sets the album alight from the off. It has a heavy feel about it and is very accessible for an Omar track! Second track `City dreams inside a truck'. In complete contrast is back to weirdness in the extreme. Thankfully it only lasts one minute forty-four as it just feels like there is no structure and almost feels like random plucking with no thought behind it. Third track, 'Sex, consultation for misery' has some nice guitar work and is also a lot more laid back with some neat effects.
Most of the songs on the album average about four minutes apart from track 4, `Tied Prom digs on the docks' which stands at over eleven minutes. This is the first track in which Sara's saxophone can be distinguished. The track starts off with energetic bursts and could be mistaken for a track off Bedlam of Goliath without being one of the tracks as it has the same sort of sound. That is until the three minute mark where things get really frantic with explosive drumming before settling down again, as Omar uses guitar effects pedals to create a spacey like feel which lasts for the next six minutes of the track. Then the drums regain the rhythm while the saxophone meanders in and out. The guitar comes in to finish off the track which for me along with `Hands tied to the roots of haemorrhage' are the highlights of the album. Great stuff.
However this is where the album peaks and the rest of the album is nowhere near the same standard. Sixth track `Mood swings' starts off with what sounds like someone falling down a flight of stairs. Then there is these really uncomfortable noises followed by beeping. Then around the three minute mark it sounds like about ten people falling down the same flight of stairs at the same time. There are also parts of the track which sound like a tape on fast forward where you can hear the voices in a squeaky fast forward mode. I can't even envisage this track being a grower and turns this album in to an album to wake you up in the mornings rather than relax you enough to get to sleep at night.
`An Ancient Shrewdness' continues in the same vein. It is like they did one take for the this track and `Mood Sings' and decided that it will do. Whereas the reality is they are very difficult to listen to with awkward noises all the way through these tracks.
Track eight `A story teeth rotted for' comes as a relief more than anything else. The drumming is consistent bringing structure to the song while the guitar effects create a medieval feel. The track is still not a glimpse of the earlier tracks but nevertheless a very listenable track much like album closer `Of Ankles to Stone'.
Overall this is a fairly good album. There are moments of Omar genius and there are literally moments of madness. As Omar continues to tread that fine line between the two; you know there is always going to be a few tracks at least to hang about for. For me the best album he has done so far is `An Apocalypse inside of an orange'. There are some tracks on this album that are up there with standard set on that album but others almost fall into the `Omar and Jeremy Ward ` category. Which if you have not heard it, try to keep it that way!
The album begins with `Hands tied to the roots of haemorrhage'. For starter the track sounds like a game of space invaders before exploding into a fantastic tune. Omar's guitar playing is brilliant and really sets the album alight from the off. It has a heavy feel about it and is very accessible for an Omar track! Second track `City dreams inside a truck'. In complete contrast is back to weirdness in the extreme. Thankfully it only lasts one minute forty-four as it just feels like there is no structure and almost feels like random plucking with no thought behind it. Third track, 'Sex, consultation for misery' has some nice guitar work and is also a lot more laid back with some neat effects.
Most of the songs on the album average about four minutes apart from track 4, `Tied Prom digs on the docks' which stands at over eleven minutes. This is the first track in which Sara's saxophone can be distinguished. The track starts off with energetic bursts and could be mistaken for a track off Bedlam of Goliath without being one of the tracks as it has the same sort of sound. That is until the three minute mark where things get really frantic with explosive drumming before settling down again, as Omar uses guitar effects pedals to create a spacey like feel which lasts for the next six minutes of the track. Then the drums regain the rhythm while the saxophone meanders in and out. The guitar comes in to finish off the track which for me along with `Hands tied to the roots of haemorrhage' are the highlights of the album. Great stuff.
However this is where the album peaks and the rest of the album is nowhere near the same standard. Sixth track `Mood swings' starts off with what sounds like someone falling down a flight of stairs. Then there is these really uncomfortable noises followed by beeping. Then around the three minute mark it sounds like about ten people falling down the same flight of stairs at the same time. There are also parts of the track which sound like a tape on fast forward where you can hear the voices in a squeaky fast forward mode. I can't even envisage this track being a grower and turns this album in to an album to wake you up in the mornings rather than relax you enough to get to sleep at night.
`An Ancient Shrewdness' continues in the same vein. It is like they did one take for the this track and `Mood Sings' and decided that it will do. Whereas the reality is they are very difficult to listen to with awkward noises all the way through these tracks.
Track eight `A story teeth rotted for' comes as a relief more than anything else. The drumming is consistent bringing structure to the song while the guitar effects create a medieval feel. The track is still not a glimpse of the earlier tracks but nevertheless a very listenable track much like album closer `Of Ankles to Stone'.
Overall this is a fairly good album. There are moments of Omar genius and there are literally moments of madness. As Omar continues to tread that fine line between the two; you know there is always going to be a few tracks at least to hang about for. For me the best album he has done so far is `An Apocalypse inside of an orange'. There are some tracks on this album that are up there with standard set on that album but others almost fall into the `Omar and Jeremy Ward ` category. Which if you have not heard it, try to keep it that way!
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