DE-LOUSED IN THE COMATORIUM

The Mars Volta may have turned some heads with their debut EP, Tremulant, but with their first full length effort, De-Loused in the Comatorium, they will be sure to grab everyone's attention. This album, written in honor of a lost friend, delivers some of the most innovative music ever produced, and is single handedly reviving the spirits of many who were feeling hopeless about new music. Fusing all kinds of styles with bizarre lyrics played/sung with unmatched fervor and perfection, The Mars Volta can not be overlooked.

The album opens with a mysterious, spacey bit. A subtle keyboard line fades in over swelling notes from guitarist Omar. Enter the new and improved Cedric. Singing a few lines with a light effect on his voice, you have no ideas what's about to strike. All of a sudden, the band explodes. A series of explosions follow, which are all varied slightly from the previous ones, to complete the intro track that is "Son et Lumiere," though it and the next track are one entity. "Inertiatic ESP" follows suite without hesitation. Cedric has never been better. His vocals are some of the best I've ever heard: tremendous range, strength and intensity. The rhythm section is relentless. Jon Theodore has overwhelming ability, and an inhuman endurance on the drums; I don't know how he does it. I sit here already mesmerized at what I have just heard, and I have only heard one song!

"Roulette Dares (The Haunt Of)" traverses through manic verses, melodic choruses and mellow, jazzy improvisations. There is even an instrumental section in free- time. This isn't just a simple, ambient segment, it is a full on jam. We'll find the band doing similar things throughout the album.

After the short acoustic riffing and haunting effects in "Tira Me a las Arañas," The Mars Volta breaks out into the frenzied "Drunkship of Lanterns." This song is characterized by a distinct Latin feel, with a fantastic breakdown, that is used a couple of times, and at the end is mixed up with a different beat, which opens the floor to the outlandish guitar work of Omar.

"Eriatarka" features a fluctuating verse and chorus, and everything else about The Mars Volta that makes them great: stunning melodies, eccentric rhythms, etc. In short, a great song.

"Cicatriz ESP," at 12:28, is the longest track on the album. The simple, yet powerful instrumental work provides the background for Cedric's extraordinary vocals during the verse, and burst out during the chorus. The simple, yet powerful chorus line of "I've Defected" is brilliant, and who better to drive that line than Cedric. Several jams are apparent in this song, which are aided by John Frusciante. The first flows directly from the chorus, and after mellowing down, goes into a few minutes of ambience and noise. Percussion starts to build up and next thing you know, you're in the middle of a Santana-esque segment. A final verse and chorus (this time with some layered vocals) end this fantastic song.

"This Apparatus Must Be Unearthed" is the album's shortest song, but it holds well with the rest of them.

"Televators" is the album's ballad, if you can call it that, and a beautiful ballad it is.

The album ends with "Take the Veil Cerpin Taxt." This song is all over the place, condensing a lot of the styles heard earlier into one final blast. The album ends leaving the listener in total awe of what they have just heard.

In short, this album is perfect, in every possible way. I find it difficult to conjure up my feelings about this album in words. It is just incredible beyond expression. They delivered on the potential they displayed with their debut EP, and then some. It is, without question, one of the greatest albums in all of time.