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Amputechture | 
 enlarge | Artist: The Mars Volta
Label: Umvd Labels
Category: Music
Buy New: $13.98
New (63) Used (34) from $4.25
Rating:  95 reviews
Sales Rank: 8219
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.5 x 4.8 x 0.4
MPN: 000721402
UPC: 602517028029
EAN: 0602517028029
ASIN: B000GPI1BO
Release Date: September 12, 2006
Shipping: Eligible for Super Saver Shipping
Availability: Usually ships in 24 hours
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| Tracks:
| • | Vicarious Atonement | | • | Tetragrammaton | | • | Vermicide | | • | Meccamputechture | | • | Asilos Magdalena | | • | Viscera Eyes | | • | Day Of The Baphomets | | • | El Ciervo Vulnerado |
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Album Description
Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.
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| Customer Reviews: Read 90 more reviews...
 Mahavishnu Orchestra + the Beegees = The Mars Spinal Tap November 11, 2008
TRACK SYNOPSIS
The first and last tracks are B-side noise and spiritual leftovers of Frances the Mute. Boorish & Tedious.
2. Tetragrammaton, or, "The ineffable falsetto of 'Staying Alive". This is the first time we hear double tracked vocals since Deloused, basically. They are extremely high. An interesting if forced composition.
3. Vermicide. Begins with a fart of bass and horns. Slow waltz feel to it. Add slower sections of 'Cassandra Gemini' and there you have it.
4. Meccamputechure. Cederic's vocals are either nasally lower register near-yellings, or studio induced harmonies that sound more like a slide guitar, or talk box run through a synth. Take two of Tetragrammaton that does not become relevantly differentiated from it until the last 4 minutes.
5. Asilos Magdalena. The Widow Redux but less dramatic: it never resolves itself, and this is neither deliberate nor effective. A stronger moment for the album.
7. Viscera Eyes. Rehashed L'via beat: Jon Theodor is dragging is feet on this one: the material lacks the dynamics, or at least antics found on the prior two albums to make his percussion a significant contribution to the compositions as a whole. Lyrics: L'via again, but more focused, which is a plus. Here the studio polishing has actually applied itself to a nugget worth cleaning. A good Frusciante piece if nothing else.
8. Day of the Baphomets. A very bad joke. Introductory bass solo: muddled doodling with horrific tone. Tetragrammaton take 3, and a nose dive at that. Once more, it only gains a foothold in the last 3 minutes a la the bassist inventing something approaching a groove.
Summary: Their first prog "stadium-Rock" album, their last Jon Theodore album, their first Frusciante dominated album. The beggining of Spinal Tap and the end of Volta (i.e. change). This album is not hermeneutically esoteric, it is exoterically eclectic B-sidehood and the end of what was at first compelling in the group. FAIL.
RESPECT and ADMIRATION August 17, 2008
Great band from El Paso that have a lot of King Crimson spirit. Who said prog bands can't come from El Paso? Awesome music with outstanding guitar play. There is no doubt that they are weird but they are weird in a good and interesting way. I will be seeking out more of their work!
caleidoscope of epic, strange proportions. February 20, 2008
I would start this review by observing that Mars Volta are a polarizing band, inspiring either frothing animus or fanatical devotion--except I haven't met anyone who doesn't hate them. Infamous for rising from the ashes of the genuinely righteous post-punk/metal outfit At The Drive-In, the group has dedicated themselves to the most wigged-out, overtly theatrical vein of 1970s progressive rock--which in indie circles is roughly akin to becoming a Scientologist. ATDI always thrived off histrionics, but the Mars Volta took it to a whole new level--we're talking 15/8 time signatures; dystopian, sci-fi influenced album concepts a la Styx or Queensryche; endless, multi-part song suites, and a healthy abrasive streak taken from confrontational (deliberately unlikeable?) acts such as Frank Zappa and Primus.
In other words, they rest firmly in take-it-or-leave it territory, and they have traveled even further along this spectrum since their last album, 2003's Frances the Mute. Their new one, the preposterously named Amputechture, may be a concept album but only the devoted (whoever they are) will spend enough time wading through the layers of guitar pedals, studio effects, and harmonized wailing to make any sense of lyrics like "Fondling with pitchforks / In a cattle prodded sea / Signaling the sedatives / To emaciate their queen."
Opener "Vicarious Atonement" wastes no time preaching to the converted. It begins with a clanking, industrial noise that ping-pongs between your headphones before segueing into a goopy minor key haze of guitars, complemented by plenty of pointless blues-scale lead-guitar wankery on top. Lead singer Cedric Bixler-Zavala and Omar Rodriguez-Lopez trade keening, overheated prog-rock blandishments. "Don't let these hands sharpen your eyes," they sing repeatedly over the squeak and blat of a (seriously) free-jazz saxophone, as if the phrase were somehow gaining profundity with each invocation.
The rest of the album marches the same forbidding path. "Tetragrammatron," Amputechture's first full-fledged epic, is a flailing piece of math-metal that flings itself into two or three different time signatures, evoking Iron Maiden, Rush, and the tinny metallic symphonies of Nintendo's Mega Man along the way. The grim mess goes on for seventeen minutes, stopping only to breathe for a few welcome moments of harmonized cooing. Bixler's quavery, howling singing voice--part Geddy Lee, part Bruce Dickinson, part yowling hell-creature--is actually a pretty astonishing instrument, comfortable in the stratospheric upper reaches of its falsetto as it is in open-throated caterwaul. As a singer and guitarist, he has a remarkable synergy with fellow former ATDI-er Rodriguez Lopez. Of course none of this counts for much when he's yelling something about "Listerine and turbulence."
The record stops dead in the middle for a gorgeous little tune ("Asilos Magdalena") sung in Spanish over ersatz flamenco acoustic guitar. "En la lluvia me promiste tu sangre," Bixler coos, a welcome change of tone, and a lot better than hearing the same words caterwauled in English ("In the rain you promised me your blood.") This pretty little moment, however, quickly turns hallucinatory and nightmarish, as a horrible insectoid noise effect creeps over the vocals, transforming Bixler into some sort of compound-eyed beetle-creature and taking something intriguing--openly plaintive and genuinely surprising--into the same tiresome sci-fi dystopian nightmare territory. Similarly, the intro "Day of the Baphomets" works up a nice, chugging samba groove, fleshed out by circling hand percussion, but the moment is ruined less than a minute in when the saxophone starts honking again and an organ works away at your frayed nerves with insistent, repeated notes off the groove. This is the story of Mars Volta; wild ambitions twist them into stylistic knots they then can't work free of.
But there's no real point in documenting this record's overreaches point-by-point. This purposefully abrasive avant-metal resides in its own universe, satisfies its own constituents, and remains largely closed off from other currents floating in the rock music sphere. Again, the take-it-or-leave-it corollary. This seems an odd fate, though, for a group devoted (at least in theory) to poly-stylistic adventurousness, and it seems to prove a cardinal rule about art and ambition; if you paint in too many colors, you end up with mud brown. The Mars Volta could fill up whole galleries with canvases this color, and with Amputechture, have constructed another monochromatic monument to wild, uninhibited excess.
 The Mars Volta's finest moment thus far February 2, 2008
4 out of 4 found this review helpful
The flak that this album has generated ought to be no surprise to anyone who shares my opinion of it. I have read reviews saying that this album is chock full of 'filler'; I have also read reviews say that this album is 'boring'. These reviewers are clearly of the younger generation of TMV listeners. Those who find this album 'boring' are likely those who rated the sub-par 'Bedlam in Goliath' with five stars.
Straight from the brooding reveries of Vicarious Atonement to the masterful tone poetics and scorching pain-inflicted guitar meanderings of El Ciervo Vulnerado this is clearly the band's most mature, complete, and complex work - both in thematics and musicianship. Listen for the pensive piano playing throughout the album, sifting through the tracks gently in limbo between foreground and background.
Omar's guitar playing has never been better than on this record. His work is restrained yet feral, melodic yet unmistakably avant-garde. The cut 'Vermicide' is a masterwork in this regard. The comparisons to John McLaughlin are justified, and this album is as close as Omar has ever been to this particular influence.
My favorite tracks on this record are 'Meccamputechture' and 'Day Of The Baphomets', cuts that I believe helm Cedric's greatest lyrical accomplishments to date. Meccamputechture is brilliant in its execution - Cedric's tone is at times insane in its delivery of these fanatically organic lyrics, and Omar's playing really shines here - truly original, knotty, torturous, what have you. This track displays exactly what is lacking throughout 'The Bedlam in Goliath': it is ravenous, chaotic, and wildly busy (listen to the solos nearing the end of the song: experimental guitar, alto sax, flute, studio effects, shakers, organ, congas, percussion, etc.) and yet maintains the *pulse* of the song. All of the tracks on Amputecture are excellent compositions - they have distinct moods and themes that transgress the usual levels of insanity in music without sounding childish - insanity for insanity's sake is how I describe The Bedlam in Goliath, which is no where near as creative and expansive as its immediate predecessor. 'Meccamputechture' then segues beautifully into Asilos Magdalena.
'Asilos Magdalena' is also brilliantly despondent and yet uncomfortably mercurial in tone. I imagine many people find this track 'boring' or dub it 'filler' and that is a shame. I think it's one of the band's most mature cuts, and one of the best on this album. Another thing about this album that I find so exceptional is how The Mars Volta managed to create such a flawless conflation between Latin and early 70's fusion jazz influences. These influences are all over this record in *every track* and are no where to be found on their latest album.
'Viscera Eyes' is a killer jam; it reminds me of L'Via L'Viaquez from Francis the Mute. This cut is heavy as all hell and yet never crosses over into tiring heavy riffing a la 'The Bedlam' because of the inundation of Latin horns that often double the guitar. I also love all of the insane guitar/studio trickery that works its way through the background. This is an intense track that fits perfectly with the rest of the album. Also, listen to Omar's solo about half-way through, it sounds like something Adrian Belew could have played. In the last three minutes of this song the melody changes into a catchy Latin vibe where Omar solos his heart out, never sounding too over the top. Cedric enters with a stellar vocal delivery with some of his token disturbed lyrics that leaves the listener begging for more, and then the song crescendos and ends - right on time. It's perfect.
I mentioned 'Day Of The Baphomets' earlier. This is a truly epic number. From the marvelous Latin rhythms under the bass solo/intro to the 'trash can drum solo' near the conclusion this track is the result of some exceptionally talented composers. Cedric and Omar really outdid themselves with this one.
Many reviewers seem to consider 'Tetragrammaton' the "center-piece" of the album, but I would disagree. It is the longest track, sure, but there is still fifty minutes of music that comes after it! I prefer when the band focuses on a more King Crimson-esque Fripp/Belew interchange of atonal notes rather than fast riffage, and this track is loaded with these kinds of verses.
As you can tell, I believe that this is the Mars Volta's greatest recording. The exception to this would be Francis the Mute - both records are amazing. However upon closer inspection I find Amputechture a more rewarding musical experience. I hope upon revisiting the album many of you will as well.
Amputechture January 30, 2008
1 out of 1 found this review helpful
The Mars Volta-Amputechture *****
While it is hard to say whether or not Amputechture is better or worse then the bands previous albums, Comatorium and Frances The Mute I can however say that The Mars Volta has managed to make another five star album. Much in the way of Radiohead in the sence that they continue to grow and not remain in one place creatively, the Mars Volta have cemented themselves as one of the most original and talented bands to come along in a very long time.
Blending elements of jazz and jazz fushion with rock, and salsa, and even punk, and even prog-rock. The guitar work is masterful, Omar Rodriguez can not be matched by any of his contemperaries on guitar, he truly has a style to all his own. John McLaughlin is just one of the many Omar has been compared to and really McLaughlin should be compared to him. Cedric maybe the very best front man to come along since James Brown. The rythm section of the band is just simply to die for.
'Vicarious Atonement' opens the album with some truly amazing guitar work by Omar and leads into a mellow assault on the ears before coming to a head with the ferioucious 'Tetragrammaton' which really kicks the album into high gear. Musicaly the song calls upon early 1970's Frank Zappa style rythms from say his Hot Rats through Over-Nite Sensation albums. Other highlights include the albums strongest track and lead single, if you can in fact call it a single. 'Viscera Eyes' is a bombastic track to rival anything the band had done up till that point. the album closes with 'El Ciervo Vulnerado' a Yes/King Crimson inspired number filled with some of the very best guitar playing you will ever hear in your life, good enough to make Steve Howe and Robert Frip blush and lay down their own six-strings in awe.
While I said it would be hard to say Amputechture is a better or worse album then the bands previous records I did not say it was impossible. Amputechture is at that point in their career the best and it seems they get better with each release.
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