THE APOCALYPSE INSIDE OF AN ORANGE

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.

ESSENTIAL!!!!

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

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.

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 is no doubt he has influences from avant guard,Jazz/fusion,progressive rock and Puerto Rican musicians and this album perhaps captures these more so then his earlier solo albums released prior to this revealing itself as a far more concentrated record.

This is his fourth solo release and second as the Omar Rodriguez Quintet with a line-up of five musicians with roles like that very much of a jazz band featuring sax/bass clarinets,keyboards and the obvious drums,bass and guitar.The overall essence of the album from first listen you'll release how improvisation and spontaneous jamming is the nature of this album.Though each song seems to veer from one extreme music style to the next with Melting Chariots being very much funk rock opener for the album next to sparked from the insult list almost being Santana Esq then to the very psychedelic/avant realms of the self titled song Apocalypse inside of an orange.The track listing is very much like that throughout the album which would surely make you think that could would loose the context and overall theme of an album but that's irrelevant,when there isn't a style to begin with other then Omar's.But that's the brilliance of this album and Omar in general,It doesn't loose touch of it's purpose.Others things you may notice is jams and ideas making reprises and being remodelled for future Mars Volta songs.This albums example is Jacob Van Lennepkade II which would soon become Viscera Eyes on the album Amputechture.

So if your already a fan of The Mars Volta and Omar or even fusion music this album is not missed. Recommend songs:Melting Chariots & Coma Pony

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Posted Wednesday, May 13, 2009 | Review Permalink

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.

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/expansive rock. The chemistry of the Omar Rodriguez-Lopez Group ("the Group") is prevalent, just as it was with the Group's first album ("Omar Rodriguez"). Each track takes the listener in a different direction, some which are long adapted stints of improv, adding to the audible and emotional complexity this album has to offer. This album was well supported via European tour and, although the album is a testament to Omar and the Group's musical talent, the live performances of these tracks (which can be found on YouTube) can be just as well. I have this double LP and, as indicated by my rare "5 Star" rating, it is an all-time favorite of mine. Note: You can listen to the album (and all of Omar Rodriguez-Lopez's solo project albums) in it's entirety for free at Omar's official website and/or download a digital copy for a few dollars. I strongly recommend it!

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.

An outstanding solo album from THE MARS VOLTA guitarist Omar Rodriguez Lopez. Released in 2007 this was his fourth studio album at the time, I was shocked to see he's released 50 some studio albums now. His brother plays drums on this instrumental album, well all instrumental except for some male vocals almost spoken on one track. We get sax, clarinet, bass and a variety of keyboards including plenty of clavinet and synths.

"Melting Chariots" opens with some great sounding bass as clavinet, drums and horns join in quickly. It settles with intricate guitar, bass and drums 2 minutes in then the clavinet returns along with that earlier sound. "Knee Deep In The Loving Hush Of Heresy" opens with an all out assault but it settles quickly. Nice guitar 2 minutes in as it turns experimental. Some crazy outbursts after 3 minutes then back to horns and that experimental sound. It kicks in again after 4 minutes.

"Jacob Van Lennepkade II" is an 18 1/2 minute tour de force. Or maybe trippy force would be more accurate. Active drumming with horns over top to start out. It's kind of melancholic with the horn bringing NUCLEUS to mind. Some ripping guitar takes over for the horn after a minute. He is lighting it up until just after 4 1/2 minutes as the horn returns. Synths will lead for a while as the active drumming continues. Check out the clavinet then the horn leads after 8 1/2 minutes but they both will light it up here for some time. The horn is dissonant 13 minutes in but it's brief as the guitar returns shredding. An impressive section.

"Fuerza De Laboracion" begins with synths I believe as other sounds join in. It calms right down and it's dark and experimental as well. Nice. Percussion around a minute as guitar and clavinet join in. Male processed vocals follow pretty much spoken until 3 1/2 minutes in and it's avant right to the end from here. "Sparked From The Insult List" is brighter and quite catchy. Horns before a minute and synths follow. Some intensity after 1 1/2 minutes then a calm with flute, bass and a beat after 2 minutes. The guitar starts to solo slowly a minute later. A Latin vibe to this one.

Baby Fat" opens with atmosphere as guitars and beats join in. It's kind of cool and I like when it kicks in hard before 2 minutes to the end. "The Apocalypse Inside Of An Orange" is one of my favourites. More of a soundscape of atmosphere and spacey sounds. Experimental too. A lone horn cries out of the atmosphere after 2 minutes and continues for some time. It's haunting 7 1/2 minutes in. "Coma Pony" has a catchy beat with piano as guitar comes in over top. Such a relaxing guitar solo. Love this. A horn takes over before 3 minutes and I really like that base of drums and bass.

A very solid 4 stars for this adventurous album.

Omar was really on a roll at this point in his career, both with The Mars Volta and with his solo material, being able to be involved in such a wide range of sounds and concepts all executed to such high quality in some truly bizarre, yet fantastic pieces of work, with this being easily his greatest solo effort up to this points and all around just a masterpiece that's more or less on par with some of TMV's output. Apocalypse Inside of an Orange sees ORL at his jazziest, with all of these interweaving melodies and rhythms tangled up in this complex mess of jazz fusion, funk and prog that has such an air of spontaneity to it that ends up sounding like very little else other than the other works of Omar himself. The album features a near-flawless collection of tracks that represent a broad selection of styles and concepts that act as a pretty great summation of his work up to this point as well, further allowing this to flourish as a wonderful whole experience that more and more feels as if it works better once you've familiarised yourself with a lot of other work from ORL. You've got your more jazzy, funky moments such as Melting Chariots and Sparked from the Insult List, building around prominent and catchy grooves and melodies with wind instruments being brought into the fold, but then you've also got these much more surreal, absolutely bizarre cuts that go off in completely unique, often disorienting directions. My favourite of this variety is Knee Deep in the Loving Hush of Heresy, which switches between these dense walls of chaos that feel barely coherent and this really smooth, catchy groove at the drop of a hat, rapidly intensifying as things go on until it becomes more difficult to discern the 2 sides as it all melds together into this explosive, intense flurry. I'm also a fan of how things can take a step back and allow some atmosphere to flourish, especially with the title track, which ditches a lot of the conventional rhythmic elements that the rest of the album built itself upon, replacing it with this abstract, spacey percussion style that feels far slower than anything else without completely ditching what makes the album so great, with a lot more of the psychedelic elements especially coming into play. The final track, Coma Pony also needs mention as one of the most beautiful songs that Omar's created, having a lot of similar intense emotion of some of his previous works like Se dice bisonte, no búfalo but with more structure to it and an even more emotive guitar performance, really just culminating in a true masterpiece. Overall, this is yet another success in a career full of them, but Apocalypse Inside of an Orange really reaches that next level of greatness to me and is an absolute must for anyone who's at all interested in the work of The Mars Volta

Best tracks: Knee Deep in the Loving Hush of Heresy, Sparked From the Insult List, Coma Pony

Weakest tracks: Baby Fat