FRANCES THE MUTE

Although I had the highest expectations for this album, expectations so high that it would be near impossible to reach them, The Mars Volta has managed to surpass them. They are progressive in the true meaning of the word, they actually move forward in music, not finding a safe area or anything recognizable, they truley try thier very hardest to make music unlike anything ever recorded. I believe with all my heart that Omar A Rodrigjuez Lopez is the new Robert Fripp.

Every player is exellent. Omar still captures the elements of acid jazz and folk music in his playing, but now he incorporates some real rock shredding that we didn't see on De- Loused. He is actually growing as a musician, something not many artists do. Cedric Bixler- Zavala still has a great voice, although it seems a little weaker on this cut. Juan ALderate's first studio cut with the band proves him to be great. He's every bit as good as Flea. Jon Theadore once again proves his status as the greatest drummer in modern rock music. And Ikey Owens manages to grow musically also when playing more difficult organ pieces.

Now to the songs, oh the brilliant songs. Cygnus Vismund Cygnus is a great way to start the record, because it's a defining Mars Volta cut, exploring almost all the avenues that they play. The song begins as a folk piece, then evolves suddenly into an up tempo power song. Cedric begins singing in Spanish for the first time since Tremulant. Omar shows a different side of himself in playing a shred solo. The rythm is fast and ever changing, as every musician keeps time perfectly. The chorus where all instruments but a distorted guitar and Cedric's voice drop out, "sondram, sodando, a veces nassi" followed by every member harmonizing singing the climactic "WHO DO YOU TRUST?" ...Pure excellence.

The Widow is, as Televators was, the cute little single. While the other songs are epics, this is the song meant for radio. It's not as technical or innovative as the others, but it's still more groundbreaking than most rock songs in the country right now. It also features trumpets which are used more heavily later on. Moving on then...

L' Via L' Viaquez is my second favoritesong off Frances the Mute. It's absolutely brialliant. It begins once again with a shred solo, and soon an explosive song takes place. The song is sung in Spanish primarilly. This is Cedric's best moment. He performs each verse brilliantly, singing the perfect rock song. But once they all stop and Omar plays those three muted notes, BOOM! The song changes, and instead it's vintage Latin music. Ikey is a mastermind of both genres. After this is over, some ambient sounds kick in, and we're back to shredding. The beat kicks back in, and the moving interlude where all instruments in unison play DUN DUN DUN DUN DUN..... "L' Via" and right back into the flow. Shivers my friends, shivers. The song returns several times more into the Latin vibe, and the final time it stays that way. They play in an almost jamming sort of fashion. It lasts for a few minutes and slowly fades away, and the voice effects machine kicks in. An extremely distorted voice belonging to Cedric sings the chorus once more, "I won't forget what I'm looking for. Oh mother help me I'm looking for..." Oh yes.

Miranda That Ghost Just isn't holy anymore begins with a good five minutes of sound effects and women's vocals that sound oddly similar to Star Trek. However, after a little punch of the fast forward button, this song is a pure treat. Two trumpets, this time, play in harmony, and you'd think you were listening to Miles Davis, (a good thing, a very good thing) And now, the album's defining ballad takes it's cue. The song lasts about 7 minutes from here, and the trumpets duke it out once again. Which brings us to one of prog's new defining moments.

Cassandra Gemini, yes, I said it, it's one of prog's new defining moments. In years we'll look back on this as we look back on Close To The Edge now. The 32 minute epic that gives this record its five star rating. Did I mention it's my favorite song? Anyway, This song explodes the same way as Cygnus does, with the most difficult time structure I've ever heard. A symphonic, Crimson-esque passage lasts a long time before transitionicng into about 10 or 15 minutes of pure rock jamming. If you're used to quick little numbers, this is not for you. (Because you're an idiot) The best part of this litle jam session however, is the lengthened saxophone solo. Oh god it's brilliant. I'm not sure who plays it, it might be Omar's brother, but it's at Coltrane level! Soon the chrous plays back into effect. "No there's no light" All instrumentalists play the difficult rhythm in unison one again, every so often exploding into thier own unique part. After this climax ends, the very same folk cut from Cygnus comes back, and takes us to the end.

Brilliant, just brilliant. I don't see why they're categorized as art rock, they seem more like symphonic prog to me.