The Bedlam in Goliath
Artist: The Mars Volta
Album: The Bedlam in Goliath
Rating: * * * *
Before we begin, a warning: If you like your music calm and unhurried, folky, or indie danceable, The Mars Volta are not for you. If, however, you like your music frantic, frenzied and undeniably proggy, then this could be your most anticipated album of the year.
For those of you not yet acquainted with their manic creations, The Mars Volta do not shy away from complicated time signatures, gratuitous guitar indulgences or epic fifteen minute plus songs, choosing instead to make these polarising musical attributes their hallmark. However, in the interim eighteen or so months since the release of their last album Amputechture, The Mars Volta have had to overcome some unexpected hardships, including the loss of awe-inspiring drummer Jon Theodore. With the release of The Bedlam in Goliath the band has bandied about somewhat disturbing stories about destructive contact with the spiritual realm through an ominous Ouija they named The Soothsayer; make what you will of these claims, but this latest album comes from a band regrouping after a distinctly dark period, and the sense of defiance is palpable.
The Bedlam in Goliath begins with a bang, immediately launching into a full-on aural assault. Its almost total refusal to slow down for more than a few moments at a time marks it apart from previous MV releases; there are none of the flamenco guitar workouts that Omar Rodriguez-Lopez showcased on previous works, and the dissonant interludes that once dominated for minutes at a time are conspicuous by their absence. However, the loss of their drummer has removed some of their previous Latin percussive flair, resulting in a more limited rhythmic scope than before. That’s not to say that the new rhythm section in any way disappoints, far from it, it’s just that they know their strengths and stick to them.
This is a good summary of the album as a whole; tighter, more focused, this is MV’s most direct, and, dare I say it, visceral album yet. Relatively speaking, of course.
