THE MARS VOLTA

Now would I consider this as good as Frances the Mute or Deloused? Ehhh nah, not even close. This record does feel a bit less like a full on Mars Volta effort, and more like something akin to one of Omar's solo albums, but even with that, I still find Noctourniquet to be the band's most misunderstood pieces of music yet.

I think a big reason why this record never really stuck with people is that it was definitely way more mellow than their previous releases, even in relation to the less brutal Octahedron. The band certainly wanted to make the music less guitar based, focusing more on Cedric's vocals, Parks' drumming, and a more spacy production value. While I certainly do sympathize with those who may miss the bigger strings of guitar solos and frenetic insanity that Omar's guitar holds, I do think Noctourniquet manages to still be engaging even without it being the front.

It is still a Mars Volta album at the end of the day, so even if it might not be as wild as Amputechture, it still has that wild side that is still absolutely enjoyable. It's just a different wildness, which I don't think is bad. I am in no opinion that changing things up is bad for the band, hell that's a big reason why I am still so fond of their 2022 comeback record, and their subsequent 2025 effort of Lucro sucio; los ojos del vacío. Sure those albums do not quite have that same energy that you might get from songs like Dyslexicon, but the point still stands. I think this record was a good detour from what the band usually makes, even if it could've been their last.

I also quite like their slower songs, like Empty Vessels Make the Loudest Sound and Trinkets Pale of Moon, especially since, while they may be slower, they still carry on the same energy that the more intense songs bring. In fact, this album feels kind of like a more surreal version of Deloused in a way. Like the antithesis of their debut. Fitting how, for a time, this was the band's final record.

It's more avant-garde compared to Deloused's controlled mix of prog and hardcore. It's more electronic focused rather than guitar focused. It's a far looser concept record as opposed to the story driven narrative that the band started out with. Hell, it's album cover is the only one to be in mostly cool, dark colors. If Lucro sucio; los ojos del vacío is the anti-Mars Volta in their new era, then this was the anti-Mars Volta in their old era. And honestly I think that is super cool!

Heck, for a time, this was probably my second or third favorite Mars Volta album. Obviously that changed, but even before I became a super fan for this group I always knew that this record was something special. I guess that proves this band is nothing to scoff at when their "worst" can still be very, very good.

In a way this is like their This Strange Engine, a record that I cannot for the life of me understand why people don't like. It's not perfect, and it certainly is no Frances, but this record is not bad by any stretch of the means. I think it's due for a bit of a new fangled fan reception.

Best tracks: Dyslexicon, Empty Vessels Make the Loudest Sound, The Malkin Jewel, Trinkets Pale of Moon, Zed and Two Naughts

Worst track: N/A

Now I get making acoustic versions of tracks previously released. I mean, look at Marillion's Less Is More, or Nine Inch Nail's Still. There is a market for acoustic renditions of tracks, so I don't mind the fact The Mars Volta made an acoustic record. What I do mind though is that this came out one year after their self titled returnal album, featuring all the tracks from that album. So really, they didn't have time to let the new album ferment before releasing this, which is?weird.

I mean, I like it. I like the focus on the salsa aspects that their self-titled had, and I think the acousticness it has does make it feel a bit more personal. But at the same time this feels like it would fit more as a bonus CD for a deluxe edition of the original album.

Also I find it so bizarre that this has a generally higher rating than its former release. Like I know the new Mars Volta sound was a bit divisive for a lot of people but?I cannot in good conscience say that this album's version of Que Dios te maldiga mi corazon or Equus 3 is better than the previous ones.

This doesn't feel like a canon Mars Volta album, but the fact it is just confuses me. I like the album, but it just?exists. Which is weird to say for something by this legendary band.

Best tracks: Blacklight Shine, Graveyard Love, Vigil,

Worst track: Que Dios te maldiga mi corazon

Unlike what some may believe this is technically not their first musical venture, that being Tremulant EP, which came out a year before. There we would get a rough draft of what The Mars Volta would make in their following debut LP, being a mix of post-hardcore frenzies with unique prog and art rock sensibilities.

This is arguably probably their most At The Drive-In styled album in their discography, as its post-hardcore sound has a similar edge to that of Relationship of Command, though obviously with a more prog edge. I believe what really appeals to me about this record is that it basically kick-started a new movement for progressive rock as a whole, that being the subgenre of alt prog. This wasn't the actual first alt prog album out there as Coheed & Cambria's The Second Stage Turbine Blade came out a year prior, but that record was more focused on emo and pop punk, rather than a full blown entwining of prog rock and alt rock. In a way, Deloused in the Comatorium was the first to have done it, which definitely gives it staying power.

And its fusion of post-hardcore and prog rock is really good I think. Obviously it's a bit different from the band's future workings, especially since the next album, Frances The Mute, would bump the progginess by a wide margin, but for what it is worth Deloused, at least I think, combines punk with prog really well.

In fact, I'd argue this album is the band at their most Pink Floyd inspired. Noctourniquet would be a bit close due to its more psychedelic sound, but weirdly enough Deloused just has the same edge that you may find off of Dark Side of the Moon, or Animals for me. It's mostly because of the space rock infused production, which makes everything feel like it comes from space. Pretty perfect for an album that is themed around a man falling into a coma and having to fight his way out of it.

Though, I do prefer what they would do later on. More of a personal thing with The Mars Volta more than anything. I still really like this album a whole lot, but I cannot deny and say I don't much rather prefer their wild and jazzy stuff.

In fact, I'd argue this album is a bit clean, which does work for its debut status as it is the band trying to wrangle as many fans in, but still I am more fond of the wild side that the Mars Volta has. It only really gets crazy on the same tier as something like Frances or Bedlam on a few occasions, and only towards the end. I think the 2003 live EP (simply called Live) does a good job at bridging the gap between the two by making some tracks on here feel more akin to what they'll sound like later on.

Obviously, different strokes for different folks. The debate between whether Deloused or Frances is the better album has gone through circles and circles around the internet, and honestly speaking, that debate never quite mattered to me. Even though I prefer Frances, Deloused has its own strengths too. It is an incredibly well made debut for an equally incredible band. Really, loving it is a given.

Best tracks: Inertiatic ESP, Drunkship of Lanterns, Cicatriz ESP, This Apparatus Must be Unearthed, Take the Veil Cerpin Taxt

Worst tracks: Son et lumière, Tira me a las arañas

Made up of just three songs, we have 'Cut That City' opening up the 20-minute-long set, an interesting composition that begins with these oozing tones of effects and programming that rapidly transition into a psych-fusion explosion of riffs and an exploration of strong melodies, as the vocals are initially run through some sort of a trippy, distortive filter effect (that the band would reiterate on several occasions later on in their discography). The post-hardcore aggression and energy of At the Drive-In is combined with a sophisticated writing that hints at the band's Latin rock influences, too - the music is definitely daring and experimental as it becomes hard to draw comparisons to other contemporary acts. Second track 'Concertina' is similarly compelling, flowing nicely between mellow, more atmospheric episodes, and expansive, guitar-driven soundscapes replete with this rattling power that is also communicated through the idiosyncratic vocals of Zavala. Third and final track 'Eunuch Provocateur' is by far the most epic and adventurous entry on the EP, a masterful psych-prog suite that explore jazz keyboards, frantic punk rhythms and marvelous, sweeping guitar licks. Once again we see the extensive use of trippy in-studio effects as well as a lot of electronic undertones. The entire 'Tremulant' EP is a boundary-crossing work that sets the tone for the group's innovative debut album released the following year (and whose title is foreshadowed in the lyrics of the final song).

Conceptually, Frances the Mute is a complex, fascinating and engaging tale that's supposed to be 'learned' - what I mean by this is that its story isn't quite clear with only a few listens. In this way, it maintains a great replay value, like Pink Floyd's The Wall, for example, which is the golden standard for concept albums in my opinion. This may be recency bias, but Frances the Mute's story is almost as beautiful and memorable as The Wall (even though it doesn't match the songwriting of Roger Waters), which is quite high praise. I look forward to further listens, as I'm pretty enthralled by this album that I've listened to it around three times already.

But the aspect of it that truly mesmerised me is the soundscape and the musicianship of the members. It blends some of my favourite things to be heard in a prog rock album, like free jazz elements, use of synthesisers, excellent guitar work and the liberal use of avant-garde sounds. However, I usually dislike it when prog music is on the heavier side. But, while I didn't enjoy it to the fullest, this heavier album was enjoyable to listen to. Undeniably, this album was very ambitious in using elements that are not often heard in most mainstream prog albums. This makes Frances the Mute a difficult album, which is a good thing when it comes to prog. However, the maximalist approach to the album's musical features also includes a few things I dislike. I found most conclusions of the songs that featured extended sound effects to be a drag to listen to. I felt that these parts made the songs a bit too long. This is one of the reasons I'm giving the album four out of five stars.

My favourite part of Frances the Mute is the amazing prog epic Cassandra Gemini, which I think is the best song on the album. It might be one of the best prog epics I've heard.

In summary, while it (unsurprisingly) fails to reach the heights of albums such as Close to the Edge by Yes or In the Court of the Crimson King by King Crimson - albums that set the bar very high, it's still an amazing record that most prog fans will enjoy, if they tolerate heavier, lengthier compositions.

Though, what about the actual studio output? Well with the band going pop in their last album, I figured they'd continue that streak, but instead Lucro sucio; los ojos del vacio changed things up dramatically, and honestly it took a bit to grow on me. In a way this is probably their most psychedelic venture yet since Noctourniquet, hell probably more.

If I had to describe the sound on this album, it'd probably be if Spiritualized made an album that was a lot more pop focused and had Latino elements.

It's very much a mix of ambient pop, art rock, and neo-psychedelia, rolled in a blanket that is not too dissimilar to some of Omar Rodriguez Lopez's solo works. It's honestly such a weird, but cool sound for the band to do. Cedric's voice is more of a focus here too, giving out very beautiful performances that are a stark contrast to the hard edged stuff he had made in the past. Not only that, but the fact the band is changing things up, even under a pop context, shows their progginess thoroughly even when they moved away from prog. Would I consider Lucro sucio; los ojos del vacio prog rock? No. Maybe prog pop at most, but this is definitely not under the same threshold as The Bedlam Of Goliath. But even still, this is such a different direction to go compared to what one would expect coming off of their last album.

However, I can definitely see why a lot of people are kind of coming into it very confused and lost, because?this album is just weird? It has the beats of a modern day Mars Volta album, but it never really presents itself as one? I don't know how to describe it, but at least initially it doesn't feel like a Mars Volta album. Sure you could say that about their self-titled too, but that one I'd say would still be recognizable as a Mars Volta album, even to the most casual of fans. This album, though, feels so out of left field even for a band such as this, that it ends up being kind of hard to get into, at least for me.

This album's biggest weakness is that while every song is good, even some really great ones like The Iron Rose or Morgana, the aforementioned confusion still persists, and I end up having more questions than answers. I have gotten more accustomed to it with each relisten, and now see it as another album by The Mars Volta, but even if I may have the pieces to the puzzle, organizing the picture is still quite hard.

I also think a weakness this album has is, while this may be more personal, I feel like the live versions I had heard in that Deftones concert sounded better, and thus I am just a tiny bit disappointed in the studio output. Now, no duh, of course songs sound better live, but like?if you listen to old live recordings from the band, it's clear that their studio and live sessions had a similar quality to both. Like, there are some differences, like the live material being far more jammier and wild, but at the end of the day the studio version of say, Tetragrammaton, sounds just as good as the live version of it. Lucro sucio; los ojos del vacio, though, sounds kind of empty on occasion in the studio compared to what I had heard live. It's not an awful emptiness, but it's very apparent these songs are more meant to be played live.

But, perhaps this direction ends up making this one of the most interesting Mars Volta albums ever. I mean, sure it may not be conceptually as interesting as Frances The Mute, but musically it's very?anti-Mars Volta. It's as if the very band itself went into an opposite world, and recorded an album with their mirrored counterparts. It's a bizarro Mars Volta, having beats and melodies that feel like something the band would make, but just off enough for it to be quite the head turner. And honestly, in this context, the album just becomes 10x cooler! It's so Mars Volta to make a Mars Volta album that doesn't vibe like a Mars Volta album.

Initially this album was a 3.5/5, but with each new listen I end up raising the bar a tad higher. Now, at a 4.5/5, I think I now know what to say. The Mars Volta NEVER misses. Sure, some of their releases are better than others, but if you ever ask me if they have any bad albums, I'd tell you no. They have unique, strange, and off putting material, but they do not make bad music EVER. Anyways, listen to Lucro sucio; los ojos del vacio, it's great.

Best tracks: The Iron Rose, Cue the Sun, Celaje, Morgana, Cue the Sun (Reprise)

Worst tracks: Mito de los trece cielos, Detrás de la puerta dorada

TMV's new album is Lucro sucio; Los ojos del vacio (Dirty Luck; the Eyes of Emptiness). It's 18 songs long, so that daunted me a bit at first glance. But the total runtime is under 50 minutes, so it's not as bad as I initially feared. I was dreading the prospect of something with the sound of their self-titled coupled with the length of Frances the Mute.

I'm happy to report my fears were largely misplaced. Lucro sucio is a huge improvement over The Mars Volta. The songs are relatively short, but they don't suffer from the same underdeveloped quality their reunion record had. Songs flow together smoothly, giving this a sense of cohesion the last album sorely lacked.

The album starts with a pair of songs that barely crack a minute: "Fin" is an airy, (mostly) a capella piece with a sweet atmosphere, and "Reina tormenta" features some interesting electronic elements. Despite these two songs adding up to less than two-and-a-half minutes, this is already showing a lot more promise than their self-titled. This proves you can write short songs without rushing things, which was a major issue on The Mars Volta.

Latin drumming, droning sax and eerie guitars give "Enlazan las tinieblas" an unsettling feeling. While distinct from the sounds of their heyday, this, unlike anything on TMV, actually feels like The Mars Volta. It's spooky and exciting, and everything feels meticulously crafted to feign chaos. Flowing directly from this song is "Mictlán", an eerie atmospheric piece.

"The Iron Rose" is a bit of a step back. Cedric's voice doesn't sound great here, and the writing feels a bit lazy. It's a slow and forlorn piece that doesn't do a ton. It's not awful, but after this album's strong opening, this was a noticeable downgrade.

"Cue the Sun" shows more promise with groaning guitars, throbbing synths, and hoarsely-muttered vocals giving this a tense and anxious aura. "Alba del orate" doesn't feel like a separate song, but more like the second half of "Cue the Sun". I love all the electronic touches, and even the relative simplicity of the indie rock flourishes feel like they belong.

Latin flavors are prominent in "Voice in My Knives". It especially reminds me of certain moments on Amputechture. This song slinks along, and I really like the percussion. The short runtime suits this side of Omar's songwriting well. "Poseedora de mi sombra" sees things start to veer off in a more experimental direction. Chords are slightly off-sounding, and it sees a sense of urgency build. Though, much like "Alba del orate", this feels more like the second half of the preceding song, rather than an independent composition.

The processed vocal effect that plagued Cedric on The Mars Volta returns on "Celaje", and it distracts from what is a pretty interesting composition. Jazz touches and rhythmic inventiveness hearken to some of this band's classic era works, especially on Frances the Mute and Amputechture. 

"Vociferó" isn't my favorite song here. Moody synths, lo-fi-hip-hop-sounding drums, and Cedric giving a middling vocal performance do not really add up to much.

Following a pointless little interlude, the next real song is "Un disparo al vacío". This is another unfortunate miss. Cedric's vocal cadence is awkward, and the backing is rather minimal. "Maullidos" continues with the torpid mood, and I feel like I've already heard this song elsewhere on this album. "Morgana" doesn't do much to stand out, either. At least the Mellotron flutes add a nice bit of texture.

After that disappointing run, we're treated to a reprise of "Cue the Sun". It provides some good momentum after three consecutive slow songs. It's lush and exciting, and it reinvigorates the record.

The album ends on "Lucro sucio". It sticks with the understated mood this album has cultivated so far, but it's the most akin to classic TMV. It's sinister and foreboding, and this song features a vocal effect that I like. I do wish the percussion were a bit more muscular, though. Parts of this song can border on soupy or mushy, and a stronger rhythmic backing may have helped this ill.

Lucro sucio is the best Mars Volta album in a while. It far outshines their self-titled, and I'd place this above Noctourniquet, too. I would still probably put Octahedron over this, but that has more to do with the sheer strength of songs like "Cotopaxi" and "Luciforms" than any sort of overarching solidity. Lucro sucio is a chill take on the sound of this band, and I overall enjoyed it. I would like to see them put a bit more grit back into their sound in the future, but as it stands, this is a perfectly good release.

Review originally published here: theeliteextremophile.com/2025/04/14/album-review-the-mars-volta-lucro-sucio-los-ojos-del-vacio/

The Volta parted ways with Flea for this effort but lost absolutely nothing in the range of talent on offer here; guitar and vocals are especially brilliant as well as stylistically unique and innovative. The percussion is also an awesome display of capability switching from metal to ballroom at the drop of hat and always coloured with latin rhythms. Like the first Volta release, this is another narrative concept but if anything, it works together in even greater fashion; it is a true classic of the 2000s but is sadly not receiving the recognition it so richly deserves. For this I think we need to reference the accessibility of the album - it is perfectly understandable when people struggle badly to get into something so frantic, complex and dissonant.

The music is constructed of so many textural components that it never fails to provide meaningful impact response at all levels and right across the full range of instruments. This is most especially enhanced by the vocals being delivered with enormous levels of passion and the guitar that is never afraid of sounding ugly in order to get the message across. With complex rhythm and a well delivered dose of orchestra there is everything you need to ensure this one is first choice when it comes to making your desert island discs selection but only once you have managed to stay the course to digest it - you are going to need a huge appetite though.

The lyrics are immensely complex, not least because they are a mix of English and Spanish but they can be baffling in both languages and provide the avid prog fan with another layer to focus on, listen after listen. The theme of the album needs that raw edge to the production which really sits well with the textures to create the enveloping emotional experience and a meaningful journey. As far as the album's progressive nature; it really is extremely difficult to imagine something that is more progressive which is perhaps the main reason this work is under appreciated. The longer tracks versus Deloused do give the listener more time to access the material but the high levels of dissonant guitar, obscure lyrics, heavy jazz and latin influence all contribute to making this work one of the most challenging there is. It is fortunate that there are a couple of great riffs and mind-boggling stylistic shifts because those sections are easy to love which generates a real need to return to the album. It is only on repeated listens that appreciation of the other more complex, less accessible sections becomes possible, so without them, many might discard this work without giving it a fair crack.

They really don't get much better than this and it sits right at the top of my list.

The EP opens with Cut That City, which has two different phases. The first phase is this spacey and electronic sequence of echoing notes, and though it's interesting to some extent, it drags a bit and is far from the best point on this album. The next phase starts with a heavy and progressive riff that embodies what The Mars Volta would become, but I don't like the vocals of this song. I can barely understand Cedric with the effects on his singing, and his true potential is just put to its full use. The song continues, changing every once in a while, and is just simply a good song. Maybe even great if the band worked on it a bit more. The next song is Concertina, which in simple terms can be described as Roulette Dares but weaker. For those who don't know, Roulette Dares is the second song on their debut album and is an incredible achievement and masterpiece of the modern progressive rock scene. Moving on to the actual song on the EP, it has a dynamic between descending and low experimentation on the instruments with an annoying vocal performance and some really nice and loud heavy bits. Jon keeps the rhythm going the entire time with Cedric switching between Spanish and English. At around the two-and-a-half-minute mark, the song speeds up in power before slowly winding down again after this brief burst of energy to quickly kill it off for a brief moment before bringing it back again for an emotional and energetic ending. Eunuch Provocateur is the last and longest song in the album, and it's pretty solid. It opens with a simple guitar piece by Omar before Jon adds a drumbeat that's almost a form of hardcore punk before Cedric comes into the picture, and while he brings more depth to the song as a whole, his vocals just aren't there yet. The band continues to follow a rough outline of this opening part while also branching out and experimenting with what they have available, gaining momentum as they do so until they end up at this electronic beat that over time breaks down and fades away. I'm not a big fan of this ending, and I feel that they could've done more for the finale of this EP.

In conclusion, it's alright. It has its great moments while being evened out by lackluster aspects. The main problem I found was that Cedric, as good a singer as he is, just generally has a bad performance on the EP. There are too many effects on it; I can't understand his lyrics, and he would do much better later on. My second problem is the opening and ending. Its electronic breakdown at the end is just boring, and the opening ambient phase of the first song carries on a little too long. I would recommend the EP to people who are either pretty familiar with the band or are looking for more of the earlier music of The Mars Volta, but definitely not for beginners. My final rating is a 3/5.