DE-LOUSED IN THE COMATORIUM

To be honest, this is just as much of an important statement as a great album. Music in general has suffered somewhat of a decline over the last 15 or so years, becoming more and more about commercialism and less about the purity of the artform. Don't get me wrong, I'm not anti-pop. In fact, in my opinion (and I hope I'm not run out of this site for saying this), the renaissance of pop rock has been one of the best things to happen in music lately. Bands like Franz Ferdinand and Death From Above 1979 might not perform 20-minute epic pieces, and they may only play 4/4 time (dear GOD!), but the passion and creativity is definitely there. However, genres such as commercial (aka "gansta") rap and pop punk have truly tainted my view on pop music. Bands with a true experimental and imaginative-based sound and attitude have definitely been missing. Bands that aren't afraid to push the enveloppe, that are more concerned about satisfying their own creative tastes rather than the wants of vicious pop culture music critics.

Then, BLAM, out of the blue, and out of the ashes of At The Drive-In, comes The Mars Volta, the brainchild of Omar and Cedric. Truly, these two have to be considered as two of the most exciting musicians out there right now. Like Neil Peart wrote over 25 years ago, "art as an expression, not a market campaign, will still capture our imagination." This sentiment is eerily echoed in The Mars Volta's first full-length album. This is a true concept album, something that has also been missing from rock lately, excluding the work of Dream Theater. What makes this album so special is how it psychadelically flows from song to song. The album is loud and very hardcore influenced, as seen in pieces like Inertiatic ESP and Roulette Dares. This may turn off some listeners, but I for one enjoy it. The album is very, very tight, and it's obvious the recording of this album was very meticulous. The vocals of Cedric are excellent, and his vocal range reminds me of a Jeff Buckley, although no one will ever top his voice. Omar puts in some solid guitar work, and the visit by John Frusciante and Flea of RHCP in Cicatriz ESP are definitely a highlight. Televators is a solid track as well, with more of a soft sound than the rest of the album. The lyrical rampage is similar to the extreme poetry of a Gord Downie (of The Tragically Hip for those unfamiliar with his work), and it gives the album that added mystical effect. What's amazing is that the album, while being so experimental and "out there", is still very concise and tight. A very fine balance is struck, and that's why this album is so good.

Really, this sound can't be described, it just HAS to be heard to appreciate. Have an open mind when listening, and appreciate the presence of creativity and artistic freedom throughout the album. You won't be disappointed.