The Mars Volta – Octahedron

The Mars Volta – Octahedron

The Volta are known for their epic, long and sporadic albums. Not only are the songs on these albums cryptically gnarly and fucked up but so is the bizarre way in which they are compiled. This is partly the reason that I personally like to listen to them and why others choose to chain smoke bongs whilst doing the same. However, the most alien thing about new album Octahedron to me is that it is none of the above. Don’t get me wrong, there are a few songs on here that showcase their insane level of talent and concentration but definitely not in the same way as the previous works. The name in itself (Octahedron) is the name of a three dimensional, geometric shape. At first I thought this was just Omar, Cedric and the rest of the bandits being their trippy selves but no, it’s deeper than that. It makes reference to the “geometric” and structured nature of the album. Forget the washed noise and looped sounds of the past. The previous record “The Bedlam in Goliath” started paving the way for an angry, faster sound (mostly from drum prodigy Thomas Pridgen’s in-fucking-sane work) and it’s apparent that it still exists within Octahedron.

The album starts off with a trademark Mexican inspired ballad (Since We’ve Been Wrong) complete with Cedric’s lyrics that the smartest language professor in the world couldn’t decipher. It’s a soft and almost welcoming gateway into the album, which I find way too fucking strange and uncanny for the Volta as this has never been the case. However, it starts picking up with Omar’s guitar skills (which I might say are getting crazier album by album. Pridgen starts beating the absolute shit out of the drums too which add to the tune but then the energy fades and its back to a slow ditty. Which isn’t bad, but fuck, it isn’t the Volta. It does however, turn into some crazy shit when the track “Cotopaxi” makes it entrance. This track is one for the books because it’s just pure Volta on speed. It continues on its unfamiliar path until the last track “Luciforms” when we get introduced to Radiohead-esque backing samples. Another thing about this album is it really does show how emotive Cedric’s voice can actually get as some songs really are utter beauty. Which is just fucking weird…. What the fuck is going on here? Will we ever be getting deloused in the Comatorium with our old friend Frances the Mute again? I doubt it. I cant actually say how I feel about that but I don’t think Omar would give a shit even if I could. –Ian

MARS VOLTA