HEAVY PROG

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/

"Signals" is the ninth studio album of Rush and was released in 1982. It was the follow up to their previous and very successful studio album "Moving Pictures". Stylistically, the album was a continuation of Rush's foray into the new oriented technology of the 80's, through the increased use of electronic instrumentation such as keyboards and electric violin. The synths really add another layer of sound to the album as a whole and clearly without them, the album would not have the charm it has. Other noticeable changes were the decreased average song length and lyrical compression.

"Signals" represents the first studio album released by the band that belongs to their third musical phase that ended with their twelfth studio album "Hold Your Fire" released in 1987. The other two studio albums released by the group between these two studio albums are "Grace Under Pressure" released in 1984 and "Power Windows" released in 1985.

The line up on the album is Geddy Lee (lead vocals, Rickenbacker 4001 and Fender jazz bass, Mini Moog, Obernheim OB-X and OB-Xa, OB-8, Roland Jupiter-8, Obernheim DSX, Roland TR-808 rhythm machine and Moog Taurus pedals), Alex Lifeson (Fender Stratocaster double neck and Moog Taurus pedals) and Neil Pearl (Tama drums, Avedis Zildjian cymbals, Wuhan China Type cymbals and percussion). The album had also the participation of Ben Mink (violin).

"Signals" has eight tracks. All lyrics were written by Neil Pearl, except "Chemistry" that was written by Lee, Lifeson and Pearl and all music was written by Geddy Lee and Alex Lifeson. The first track "Subdivisions" is my favourite song on the album. The keyboards are lush and gorgeous here, and Geddy's voice is in his top element here. Based on whether or not you like "Subdivisions", this is in a certain way the track that can basically decide whether or not you will like "Signals". The second track "The Analog Kid" is a very different song. This is a much more guitar oriented song and represents the hardest rocking song on the whole album. It features Lifeson at his best and with Lee flowing nicely. The guitar and the bass lines are very powerful and are very well supported by an incredible drumming by Pearl, as usual. The third track "Chemistry" represents one of those rare and fascinating occasions where all three band's members share lyrical work. This is another very interesting song with again the massive use of synthesizers. The guitar and the bass are also really powerful on this song. This is an incredible example of a perfect mix of guitars and keyboards. The fourth track "Digital Man" is a song that brings some musical elements of reggae. Sincerely this a track that in some parts reminds me the music of The Police and particularly Pearl sounds like Stuart Copeland. This is a very interesting, good and strong track from the album, even though that it isn't for sure one of their most popular songs. The fifth track "The Weapon" continues were "Witch Hunt" left off and will follow it as part two of the "Fear" trilogy, and is excellent with its explorations of how people, and societies, use fear against each other. It's the lengthiest track on the album and it has almost mechanical drumming and some electronic noises. This is another great track with very important lyrics. The sixth track "New World Man" is a song that reminds me of "Digital Man", because it has the same meaning and the musical influences of reggae. At a first place it sounds a little bit commercial like it was made to be passed on the radio. This is one of the weakest tracks on the album, but I sincerely think that it's a catchy song with great singing from Lee. The seventh track "Losing It" is a great ballad, reflecting on the waning years of one's life man. Lifeson has some great guitar work with his solo and Ben Mink's violin is simply and absolutely gorgeous on this song. It's a very different track and the most experimental of the album. This is also the only song on the whole album that uses acoustic guitars. The eighth and last track "Countdown" was designed for commercial and video play, but I sincerely like it. It's a song that musically and lyrically builds in symbolism and homage to the lunch of a space shuttle. It's a very well done and tasteful song with a great keyboard work for those who appreciate it. This is a very strong ending to a strong album.

Conclusion: "Signals" is another very good and fine album from Rush that certainly worthy of Rush's name. Fans of their older musical era from their progressive musical period might have an initial hang up, like me, but this album will certain grow to be a favourite of them. With "Signals", the band is still rocking and moving with a fluid grace. It soars with the kind of spirit only these veterans can produce or get way with on such a style change. Lee's bass is still great and his solos work very well, if anything his dominant here. Pearl's percussion is complex, at times subtle, but still dominating rhythm machine. Lifeson's leads are drowned out his solos are still great, his imprinting is still working its magic as a multi textured part of the whole. The musical arrangements are excellent, the group writing pieces of music that flow with grace, the production here melding the compositions into an artistic whole, sounds and textures ebbing and rising with a craftsman detail. So, we can say that the final result is another great studio album from Rush, indeed.

Prog is my Ferrari. Jem Godfrey (Frost*)

What we find on this album is the most mature, confident version of Robe yet. He seamlessly blends the magic of "Mayéutica" with the spirit of his first two solo records to craft a collection of songs that is nothing short of impeccable, intoxicating, and already filled with anthems for lovers of modern Spanish rock.

Tracks like El Hombre Pájaro, Viajando desde el Interior, Nada que Perder, El Poder del Arte, and Ininteligible rank among the finest ever composed by the Plasencia-born artist. He's accompanied by a band capable of delivering a true sonic orgy, an explosion of textures, musical richness, and technical prowess that is hard to match in today's progressive rock scene.

An absolute phenomenon. A force of nature in the shape of a musician who, at over 60 years old, shows no signs of slowing down. While many artists see their talent fade with age, Robe's only continues to grow, delivering the best albums of his entire career at a time when most musicians are simply coasting on past glories.

Bravo, Robe! I can't wait to hear what you create next. We need more of this magnificent, electrifying drug you compose.

Best Tracks: El Hombre Pájaro (a full crescendoing symphony in itself, reminiscent of the masterpiece Un Suspiro Acompasado), Viajando desde el Interior (an absolutely overwhelming bassline unleashes one of the wildest and most intense songs Robe has written since Para Todos los Públicos), Nada Que Perder (this can already be considered a classic of Spanish rock, perfect in every sense, and incredibly catchy), A la Orilla del Río (a beautiful piece, pure poetry, with flawless musical accompaniment), El Poder del Arte (the centerpiece of the album, and its best track. opening with a Debussy-inspired melody and evolving into a stunning tribute to music itself, moving through jazz, heavy metal, hard rock, funk, pop... and even Apocalypse Now! A jaw-dropping musical achievement, topped off with what might be the best chorus Robe has ever written), and Ininteligible (a full-blown progressive rock bomb, intense, with phenomenal instrumental work)

And yet, in February, "Shells" arrived at my doorstep and after many, many listens, I can say with confidence: the magic of Oliver Phillips remains completely intact. His brilliance as a composer, singer, guitarist, keyboardist, and, of course, producer, hasn't faded one bit. In fact, "Shells" earns a spot among Everon's top five albums?and might even go toe-to-toe with titans like "Fantasma", Bridge, and "Flesh" for a place in the top three.

Stylistically, the album picks up some of the sonic identity of "North" (the album many of us believed would be Everon's last), but it's infused with a broader range of textures and ideas that also echo the eclecticism of "Fantasma" and the timeless elegance of "Bridge".

What we get is classic Everon: epic, emotionally charged tracks with sweeping orchestration and lush keyboard arrangements (No Embrace, Monster); darker, melancholic pieces that tug at the soul (Broken Angels, Shells, Guilty as Charged); tracks with a subtle pop sheen (Travels, Until We Meet Again); touches of experimentation including folk influences in the surprising Pinocchio's Nose, and even flashes of extreme metal in the final moments of Shells. There are also signature instrumentals reminiscent of classics like Meteor or Puppet Show (OCD), and some slightly cheesy but heartfelt ballads (Grace)?a staple of Everon's unmistakable charm.

In short, Shells is everything an Everon fan could have hoped for?and so much more. It's a dream come true, and without a doubt, one of the finest progressive rock albums 2025 is likely to deliver.

A spectacular return. Let's just hope they don't keep us waiting so long next time!

Best Tracks: honestly, there's not a single bad song on the album, but if I had to choose, I'd go with No Embrace (the chorus is wonderful, and the final solo is legendary), Pinocchio's Nose (those Celtic touches and the female vocals are just gorgeous), Monster (the best lyrics on the album?harsh and raw?paired with dreamlike melodies for a powerful contrast), Guilty as Charged (perhaps the most well-rounded track on the album, with an absolutely overwhelming ending), and the re-recording of Flesh (which somehow improves on a song that already seemed unbeatable)

Headspace focus on the development of longer pieces with multiple tempo shifts, which renders the music really dynamic and unpredictable, with a fine balance between heavy and mellow, given the use of acoustic instruments on several sections throughout the different songs. At times the music can get really labyrinthian and complex, but the band manages to maintain the core melodies rather professionally, intertwining them beautifully into the web of riffs and odd time signatures. The lyrics are furious and depict scenes of war and devastation, making this an effective and picturesque commentary as well as a dark observation upon the state of the world, letting the listener embrace the story and visualize it. Especially effective, both musically and contextually, are tracks like 'Fall of America', 'Die With a Bullet', 'Daddy Fucking Loves You' and 'Invasion', just bombastic prog metal epics, rich in texture and exquisitely-well produced. Occasionally some tracks feel a little denser and more confusing, like 'Stalled Armageddon' and 'The Big Day', but this does not take away a single inch off the grandiose sound of the album.

"Ashes" with that note, the man with the harmonica, once upon a time, in short, buried memories of my first prog album, on this magnificent film soundtrack. The latency of the beginning leads to a metallic prog tune, a mix of genres, the hallmark of this new band in full effervescence. The rhythmic tune reaches djent edges with the syncopated riff, the choruses maintaining the melodic range. A hint of Floyd, of course, an alternative approach, and the reminiscences flow. The shear finale with the heavy bass of "Meddle", yes the moment when we think we're in a disco club, the slap. "Red Sun" follows, a spatial, robotic peregrination for a sound that is searching for itself; a bit of Dream Theater, a sound reminiscent of Soungarden then the riff, the rise that emerges and the slide guitar, the sithare, in short we arrive in the Floydian space; not a cover, not a remix, but a well- taken title, as Monkey3 also knows how to do so well. The guitar takes precedence over the vocal, an invasive, fat, gripping solo, emotion in full swing before the voice returns; outro with these vibrant, reverberating notes. It continues with "Embers" with its chopped, syncopated sound, in the nervous style of Alice In Chains from the 90s; a fat, uncompromising rock piece full of joyful guitar notes. Barely three minutes and the oriental sound emerges, surprising. We are undoubtedly transported to the world of prog. Distant choirs, the vibrating cymbal, the cry of despair, and that crescendo of the martial pad. The rise, the fall, the vocals betray the title for those who haven't yet grasped the connection with Pink Floyd. We hear the dogs in the distance. The most impressive track is the plaintive acoustic finale.

"Red Sun EP" combines the three tracks together to prolong the pleasure and delve deeper and longer, almost 23 minutes, into this psychedelic universe from a time when we had the time, with a very interesting updated sound.

Sykofant: Bluesy, psychedelic, fusing the sound of yesteryear with modern prog blood. Fruity, dissonant, where the sound is at once beautiful, tranquil, and brutal; a hint of Monkey3's last album. Floyd tribute album.

"Ashes" with that note, the man with the harmonica, once upon a time, in short, buried memories of my first prog album, on this magnificent film soundtrack. The latency of the opening leads to a metallic prog tune, a mix of genres, the hallmark of this new band in full effervescence. The rhythmic tune reaches djent edges with the syncopated riff, the choruses maintaining the melodic texture. A hint of Floyd of course, an alternative approach and the reminiscences flow. The shear finale with the pervasive bass of "Meddle", yes the moment when we think we are in a disco club, the slap. "Red Sun" follows, a spatial, robotic peregrination for a sound that is searching; a bit of Dream Theater, a sound reminiscent of Soungarden then the riff, the rise that emerges and the slide guitar, the sithare, in short we arrive in the Floydian space; not a cover, not a remix, but a well-taken title, as Monkey3 also knows how to do so well. The guitar takes precedence over the vocal, an invasive solo, fat, gripping, emotion in bars before the return of the voice; outro with these vibrant, reverberating notes. It continues with "Embers" with a chopped, syncopated sound, on the nervous style of Alice In Chains from the 90s; A fat, uncompromising rock track filled with joyful guitar notes. Barely three minutes in, the oriental sound emerges, surprising. We are undoubtedly transported to the world of prog. Distant choirs, the vibrating cymbal, the cry of despair, and that crescendo with the martial pad. The rise, the fall, the vocals betray the title for those who haven't yet grasped the connections with Pink Floyd. We hear the dogs in the distance. The most impressive track with the final plaintive acoustic.

Sykofant's often raw voice, invasive sonorities making the sound both tortured and fluid, that's what they offer. Bluesy, psychedelic, fusing the sound of yesteryear with modern prog blood, a fruity, dissonant EP, where the sound is at once beautiful, tranquil, and brutal; I couldn't help but think of Monkey3's last fabulous album.

The album travels along a paved and flat road, without dangerous curves or major glimpses of venturing into routes that deeply challenge the band, and just like its predecessors "Wonderworld" and "Return to Fantasy", it has outstanding moments such as the promising beginning of "One Way or Another" with a great guitar riff and its fresh and energetic vibe, the psychedelic half-time of the excellent "Weep in Silence" and Mick Box's great solo, the elaborate structure of the intense "Midnight" and Hensley's hammond, and the crystalline beauty of Box's acoustic strumming on "Footprints in the Snow".

But the rest of the work fails to sustain a solid compositional regularity and cohesion, neither with "Can't Keep a Good Band Down", a kind of agile rock and accessible pop that welcomes a repetitive chorus, nor with the vaudevillian and simplistic "Woman of the World", nor with the disconcerting "Can't Stop Singing", which is halfway between gospel and soul, nor with the bland country boogie "Make a Little Love", songs that lack the vitality and hardock substance that at that stage of the band already seemed more part of a distant past even though it was not so much.

The brief and melancholic "Confession", starring Hensley's piano and containing an apparent confessional apology in Byron's singing, closes the irregular "High and Mighty", and sadly marks the end of the iconic singer's relationship with the band and also the departure of John Wetton.

2.5/3 stars