FRANCES THE MUTE

Description: "We are a rock band that he/she wants to be a band of sauce", he/she said Omar A. Rodríguez-López once who besides being the guitarist of The Mars Volta, he/she wrote, it directed and he/she took place their second it releases duration, French the mute. Hardly 3 years after their premiere (Tremulant EP, 2002) the band has been able to capture the attention of a wide and diverse audience, this thanks to the concretion of that statement in three excellent productions that have revitalized the term "coalition" in the scene of the contemporary rock. French the mute is a work of art, a great cycle of 77 minutes, that takes off the "Sarcophagi" and he/she returns to close exactly there. During that trip we meet with 5 pieces. I don't dare to call them "songs", because a song is more or less a trip lineal that lasts from 2 to 7 minutes with a stable structure on the which we can, more or less, to abide to something predictable. And these pieces, definitively, are not anything resemblance to that. The album opens up with "Cygnus... .Vismund Cygnus", a topic that it explodes with a potent sample of funk-prog rock, decorated with a feeling Latin and a lot of psicodelia, an aspect that stays present through the whole extension of the disk. A little after 10 minutes it sounds "The widow", the first simple promotional, a relaxed topic that breaks up totally with the dynamics of the first act. It is the piece more "normal" of the production, to such a point that almost feels outside of place. In the track 3 it sounds "L'Via L'Viaquez", an energetic topic with letters in Spanish, in the which it enters a rhythm of sauceof 70´s like one on their main behalves and where we find some of the most brilliant melodies in this work, besides John Frusciante's collaboration (Red Hot Chili Peppers) with some alone of guitar. To the moment, without hurries "Miranda that ghost just isn't holy anymore" he/she opens creating a dark and humid atmosphere on the one slowly that, of a moment to other, we listen a trumpet, executed by Flea (Net Hot Chili Peppers), followed by Cedric Bixler's voice: "i've always wanted to eat glass with you again...". The fourth track of French the mute is maybe my favorite one. It is a piece that evolves slow and masterfully with a high experimentation dose, preparing the land and the conscience for what happens next, a powerful called psychedelic discharge of 35 minutes "Cassandra Geminni". The climax of French the mute is reached during this piece. A series of sonic multiorgies accompanies its complete development that embraces a little less than half of the work. During the first 5 minutes it is easy to conclude that this it is the best track in the album. And what comes of there it stops below he/she simply leaves me without encouragement. To Favor: The handling of the instruments is of very high level, impeccable and impressive. The coalition of rhythms and the master with which the sounds are managed -and in general all that represents this work - it is really something outside of the common thing. French the mute is the natural answer to The Mars's spirit live Volta, a band that concentrates on the musical free execution of a continuous one that doesn't stop in any moment. From the beginning and with a marked accent in the end, this recording is impregnated of virtuosity, experimentation and a lot of energy. In Against: While Of-loused in the comatorium it had the leading of the veteran producing Rick Rubin, French the mute was totally in charge of Omar A. Rodríguez-López. A challenge that was overcome gloriously, but that he/she brought I get something of dispersion along the work, maybe an inherent quality to the essence of the band. And from that point of view, it is possible that it is not necessarily a flaw, but of to moments it is felt that it lacks some pasteurization in the process of organization of the album. Some things here and there they have more than enough. Verdict: The second it releases duration it is a test difficult to overcome for any band. From their premiere, the public has always waited much of The Mars Volta and these have known how to respond to satisfy and even to overcome the expectations of his wide base of demanding followers. What The Mars Volta makes is to return to the music the spontaneity that has been snatched him little by little by the contemporary fashions.