WOMAN GIVES BIRTH TO TOMATO!

A free and exclusive sonorous adventure (9/10)

Do you remember The Marts Volta, "Frances the mute" era, with experimental and bizarre passages? If you miss it, you will enjoy this album.

The first time I listen it the amazing and masterpiece of Ornette Coleman "Free Jazz" I think -Oh, **** what's this! But now for me and the world wide critical, is one of the best album of jazz music, and one of the first free jazz style.

Why do I say this? It's simple, this free rock album you can listen to streaming via Web of Omar Rodriguez "bandcamp" and I do not know if it will go down in rock history as a masterpiece, but I do know that the author has the audacity to reunite his band, recording and mastering this work.

A work that, perhaps, would reject any producer for their exceptional courage and wonderful creative madness.

I would give it a second chance!

This album is available for free listening at Omar's Bandcamp site, and thank God.

While the players are clearly skilled, and this is certainly 'progressive', I can't imagine that I would ever listen to this again. It is completely free form. No structure, no melody; just a group of musicians all kind of doing their own thing, together.

I appreciate Omar's willingness to try new things, and often he strikes gold. I imagine that these sessions were quite a lot of fun for those involved in making them. Unfortunately this time, for me at least, it results in something that I just cannot listen to.

After a string of decent at best electronic experiments that never really grew into something truly great to me, Woman Gives Birth to Tomato proves to be an incredibly refreshing listen. You can still hear some of Omar's interest is messing around with synths throughout this, but this is primarily a frenetic jazz album that borders on free jazz at points, with these electronic elements acting more as a way to add further texture to the tracks as opposed to being the driving force. It's not just a case of it being refreshing and novel either, it's just a great album in general, taking a lot of clear inspiration from artists such as Ornette Coleman and then mixing in some colder, more abrasive elements to it all to create this messy, futuristic experience that walks the line between nightmarishly intense and gorgeously passionate. Stuff like this is why I continue to stick with going through the discography of ORL even after a string of albums I don't feel especially strongly about, because you get stuff like this that ends up being so exciting and surprising all throughout, with each dull moment feeling wholly temporary before you get something truly amazing thrown your way.