Omar Rodriguez-Lopez

Eclectic Prog

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Omar Rodriguez-Lopez The Apocalypse Inside of an Orange album cover
4.21 | 83 ratings | 7 reviews | 34% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2007

Songs / Tracks Listing

1. Melting Chariots (3:51)
2. Knee Deep in the Loving Hush of Heresy (6:02)
3. Jacob Van Lennepkade II (18:25)
4. Fuerza De Liberacion (5:33)
5. Sparked From the Insult List (6:08)
6. Baby Fat (2:47)
7. The Apocalypse Inside of An Orange (11:14)
8. Coma Pony (6:36)

Total Time: 60:36


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Music tabs (tablatures)

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Line-up / Musicians

- Omar Rodriguez-Lopez / guitar
- Juan Alderete / bass
- Money Mark / keyboards, synthesizer
- Adrián Terrazas-González / saxophone, clarinet
- Marcel Rodriguez-Lopez / drums, percussion

Releases information

Infrasonic Sound

Released on November 20, 2007 on Vinyl
CD version in 2008

Thanks to chamberry for the addition
and to ProgLucky for the last updates
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Rodriguez Lopez Productions 2009
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$6.58 (used)
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N2O Entertainment 2008
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OMAR RODRIGUEZ-LOPEZ The Apocalypse Inside of an Orange ratings distribution

(83 ratings)
Essential: a masterpiece of progressive rock music(34%)
Excellent addition to any prog rock music collection(35%)
Good, but non-essential (12%)
Collectors/fans only (12%)
Poor. Only for completionists (6%)

OMAR RODRIGUEZ-LOPEZ The Apocalypse Inside of an Orange reviews

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Collaborators/Experts Reviews

Review by darkshade
COLLABORATOR Jazz Rock/Fusion Team
5 stars OH MY GOD!!! that was the first thing i said when i listened to the first few seconds of this album. i dont make too many reviews, so when i do, it means something. There is an element to Omar's solo albums that you dont quite hear on The Mars Volta albums. For one thing, there is more of a jazz-rock/fusion feel, with the horns and keyboards (clavinet everywhere!) being much more prominent. In fact, i would have to say this fits more in that genre than heavy prog (but im not complaining).

Then there is the funkier, jazzier, and more loose feel going on. Even though this is an Omar solo album, he treats it the same way as with TMV, having everyone playing an important role in the music. There's a lot of improv too, and more free jazz (though somewhat controlled) elements than TMV bring.

You could compare this to the Volta, but its kind of pointless. If you like TMV, you'll definitely love this. That's the only comparison i can make, since Omar write most of the music for the band anyway. But if you're like me, who've said The Mars Volta should bring in more of the fusion and jazz thing, this is your answer.

This album is instrumental, but i know some of his other albums have vocals. This album is basically The Mars Volta playing jazz-fusion (interesting concept)

seriously, if you even kind of like TMV, you definitely have to find this (and others) and blast it. You will not be disappointed. This album makes me feel like The Mars Volta are inferior to Omar's solo works, but they're all pretty much one in the same anyway.



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Review by The Rain Man
5 stars 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.


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Review by The Quiet One
4 stars The Mars Volta (without Cedric Bixler-Zavala)

This 2007 solo effort by Mars Volta's mastermind, Omar Rodriguez-Lopez, is an amazing offshoot of The Mars Volta's incredible and eclectic instrumental side. It has it all from jazz fusion, funk, latin and space music; all genres mixed up in an ingenious way and played greatly with a lot of power.

Besides Omar, you've got Juan Alderete on the bass, Adrian Terrazas-Gonzales on the sax and Omar's younger brother, Marcel, on the percussion/drums, all who have played (or are playing) with The Mars Volta. Since there is no singer, it's fair to say that this is like an instrumental take on Mars Volta's music.

From the powerful, funky-tinged 'Melting Chariots' to the mind-blowing 18 minute ''jam'' entitled 'Jacob Van Lennepkade II' featuring fantastic show-offs from all members involved, The Apocalypse Inside of an Orange is indeed an album all fans of Omar's main band should check out. However, like most of Mars Volta's albums, there are some unnecessary tunes filled with noise like the 11 minute title track which has zero content.

Overall, a very good work by Omar that shows all of the characteristics of The Mars Volta though focusing more on the instrumental aspects of their music. Besides fans of The Mars Volta, all those who can't get into the band's music because of Cedric's vocals, this is by every means the way to go.

4 stars: Though not as concise as the albums by The Mars Volta, still The Apocalypse Inside of an Orange is an excellent addition to your modern Prog collection.


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Review by BrufordFreak
COLLABORATOR Jazz-Rock/Fusion/Canterbury Team
4 stars Wow! Combining high-powered, psychedelic rock and R & B like I've never heard it, Omar Rodriquez-Lopez--of THE MARS VOLTA fame--has created a monster of an album. Almost completely instrumental and, except for the guitar work and modern recording techniques, very reminiscent of lots of music and artists from the jazz fusion and electronic prog experimentalists fromt he 1970s.

1. "Melting Chariots" (3:51) starts off like something from a P-Funk album or TALKING HEADS' Remain in Light. The unusual staccato guitar solo is a quite inconsistent with the rest of the song's feel and sound. (8/10)

2. "Knee Deep in the Loving Hush of Heresy" (6:02) begins with ORNETTE COLEMAN-like free-for-all cacophony. The just as suddenly the music settles into a groove--an almost tongue-in-cheek 'sexy space' walk. The song flows intermmittently in and out of the opening cacophony, as well as into some stark bluesy sections. This sounds a lot like some of TODD RUNDGREN's wild sound/listener experiments from the 70s. The 'sexy space walk' jam is the overall dominant thread that keeps the song moving forward but there are many 'pauses' and 'interludes' into guitar and synthesizer 'tangents.' The song ends with a minute of straightforward heavy metal rock n roll. Interesting sonic and technical experimentation. (8/10)

3. "Jacob Van Lennepkade II" (18:25) is a wonderful multi-track (midi?) jam set over a very engaging, danceable groove laid down by the rhythm section. The occasional 'chorus' section is lead by saxophone melody--all the while the rhythm section keeps on groovin' away on the same pace, same riffs, same chords. The first five minutes are dominated by guitar(s) solo; second five by keyboard(s), third five by saxophone; and the final by guitars again. Awesome performances throughout. Great jam. (10/10)

4. "Fuerza de Liberacion" (5:33) begins with some odd synthesizer and vocal percussion 'noises.' At the one minute mark most of this fades away to be replaced by a kind of steady 'Carribbean' beat over which a heavily muted/treated male voice talks for over two minutes. Giving way to a multi-track guitar solo, beneath which the drummer--and then the keyboardist and saxophone player--has some real fun. The song's basic bass and keyboard structure remains steady and constant throughout. (8/10)

5. "Sparked From the Insult List" (6:08) is pure Latin groove rock--SANTANA at his jammin' best. Again, multi-track guitar (by which I mean that one guitar is being played but that it's sound is being channelled through two or more effects boxes and then into multiple recording tracks, giving it the feel that multiple instruments are being played). The presence of Rhodes-like keyboard and flute give this a very 1970s feel. Awesome feel and sound--one I can never get enough of. (10/10)

6. "Baby Fat" (2:47) has a very jazzy, KING CRIMSON feel to it--even down to the discordant free jam the song devolves into. (8/10)

7. "The Apocalypse Inside of An Orange" (11:14) is a true adventure in Psychedelic/Space Rock--even down to the "Indian" feel of the 'sitar' and bass sounds--a musical expression of pre-Big Bang (or post-apocalyptic) cosmic soup. It's actually quite entertaining and even engaging. (Again I am reminded of some of TODD RUNDGREN's work from the 70s--this time almost exactly like the middle 30 minutes of his 36 minute epic, "Treatise on Cosmic Fire"on Initiation). I quite like it! (9/10)

8. "Coma Pony" (6:36) is another throwback song, starting with a very cool, laid back jazz fusion (almost trip hoppy) groove set down by bass, drums, and very 60s/70s keyboard sound and style--over which the guitar again does his multi-track jamming. The ERIC GALE- like jazz guitar, BOB JAMES-like keyboard playing, TOM SCOTT/GROVER WASHINGTON- like sax play, and catchy melodies make this a very enjoyable and comfortable song--like a stroll through memory lane. (10/10)

Truly an exceptional album of adventurous music. Close to being a masterpiece; definitely 4.5 stars.


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Latest members reviews

5 stars The most diverse studio recording that Omar (Mastermind of Prog Bands: The Mars Volta & At The Drive-In) has made to date. His extensive ability to develop jazz, rock, and funk inspired melodies, while incorporating his usual avant-garde style makes this album a modern classic for progressive/ex ... (read more)

Report this review (#347694) | Posted by kevbenton | Thursday, December 09, 2010 | Review Permanlink

5 stars This is by far my favourite Omar release and quite possibly one of my most listened to albums.With Omar's solo & Mars Volta releases there are certain elements in which Omar brings within every song he features on and have subsequently become a prominent part of his playing and overall sound.There ... (read more)

Report this review (#215289) | Posted by mrcozdude | Wednesday, May 13, 2009 | Review Permanlink

4 stars hey this album is really an exelent example how far the tallent of omar rodriguez cn get you to trip alot. alot of concepts of sounds in one song all the tracks are diferent. this album helps to all fans of mars volta to understand how omar creates the music for the albums of mars volta ... (read more)

Report this review (#169561) | Posted by criarpo | Friday, May 02, 2008 | Review Permanlink

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