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Frances the Mute

The Mars Volta

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iTunes Review

A mind-blowing maze of complex melodies, textures, and harmonies, Frances the Mute is almost impossibly precise in its orchestration and execution. There are no songs on the album, at least in the conventional sense, just an endless movement from one idea to another, some sublime, others unbearably intense and hopelessly fragmented. Polyrhythms and countless unexpected tempo changes abound, while extended guitar, trumpet, and sax solos scream from the mix, driven by possessed drumming throughout. There are also cinematic moments where street sounds and snippets of conversation slip into the soundscape and then into the studio murk. Cedric Bixler-Zavala’s voice soars, screeches, wails, howls, and moans, and his sinister non sequitur lyrics, sung in English and Spanish, are difficult to discern much less decipher. This is no casual listen and certainly not for everyone. But for those willing to commit to absorbing 77 minutes of challenging music, there is much to reflect upon in Frances the Mute.

Customer Reviews

Warning! After The Mars Volta there is nothing else!

First off, to explain the title of the review: I've been listening to these guys for a while now and I can't stop. I can't find anything else out there that is as perfect as this. I feel The Mars Volta has sort of set the bar so amazingly high that no other bands around today really turn me on like they do. Which is kind of sad. I hear a lot of Miles Davis (Bitches Brew), a lot of Santana, and a lot of Pink Floyd in this album. If those name drops float your boat, than check this album out. I also think being a muscian really helps one appreciate these guys. All my friends who play or write music will at least admit that this album is an incredible piece of art, even if they aren't turned on by the combination of latin/psychadelica/jazz/with a dash of metal that is The Mars Volta. The playing is phenomenal. Omar is rewriting the book of guitar, just like Jimi Hendrix did before him. Cedric, with his often effected vocals, is expanding the idea of vocals as another instrument in the band rather than the focal point of the song (by the way, he hits those high notes live too). And Jon Theodore is the first rock drummer to contend with Danny Carey for greatest drummer ever, in my mind. Also, the compositions are phenomenal. I can listen to this album over and over and over and be amazed by some new little part each time. First time I listened to track 1 my jaw was on the floor. I'm still amazed after owning it since March. I personaly feel that this album and this band are in some ways the Pink Floyd of modern rock. In the sense that these albums, while simmering just below mainstream now, will be considered epic in the near and distant future. We are bearing witness to the creation of another "Wish You Were Here" or "Animals" or "The Wall". That being said, The Mars Volta is covering new ground. Even if you can hear some of their influences, there is not anybody else that I know of making this kind of mind blowing, non-cheesey, non-thrash, progressive rock. If you consider yourself a collector of "important" albums then just go ahead and buy this. Its greatness is undeniable.

Musical Freedom

I was amazed with the sound of this album (I don't normally start a review this way.) Although still not as accessable as some would like it to be, I know there are some great musical minds out there that know better. Progressive, Acid, Math, whatever type of rock you'd like to define 'Frances' as... The album is fun, fast-paced (just like Deloused), and happily overwhelming. I'm glad that there are bands that still make music like this. Frances the Mute is also quite a bit more mature from their last LP "Deloused in the Comotorium." Because of the concept. This album is clearly more 'drawn together' than Deloused. Omar and everyone else in the outfit has significantly improved, and it shows. I can't really describe the disc in any other way. BUT... As with all bands and albums, Frances does indeed have it's shortcomings. The first three (this album is not the five 'songs' iTunes suggests it is) songs are unique and ingenius, but the remainder of the album strays a bit too far from the party... That is, in fact, a good analogy. It's like a few of your noisiest guests have entered your neighbor's yard and things seem to have calmed down a bit... And in your bliss, your neighbors suddenly come barging in, ears of your sheep-like guests in hand, and begin to hound you on why you let your party get out of control. Things heat up... But wait... I didn't think things were getting out of hand... Were they? "Miranda," renowned by fans as having the great "Flea" (of the Chili Peppers) make apperances on horns early on, is a calm song (salsa-sounding) for the first several minutes... Several, several minutes. (You get the hint.) Cassandra Gemini is the opposite (both tracks taking it a bit overboard on the extremes,) with so many directions, you don't know what's happening. The neighbors are ticked, and you're confused... Nobody likes confusion. Should you buy this album? If you're into finding new things that are still fun to listen to (and this album is by all means listenable,) then yes. These guys have grown into quite the fine set of musicians who write effective, dynamic arrangements. -Four and a half stars.

WARNING!

you are about to listen to probably the best sophomore album ever made. With TMV's second installment of songs, comes some of the best musical talent ever. The guitar work on Cygnus, L'Via, and Cassandra could quite possible melt your face off. The epic Cassandra Gemini that is an intricate as a spider's web is worth the buy all by itself. I found L'Via to be ironic in that lyrics are sung in spanish during the americanized music parts and english during the latin parts. I just can't stand the fact that I should have to write more to convince you this album is worth more than you're paying. Just buy it. end of story.

Biography

Formed: 2001 in El Paso, TX

Genre: Rock

Years Active: '00s, '10s

Picking up the pieces from At the Drive-In, Cedric Bixler-Zavala and Omar Rodriguez-Lopez formed the Mars Volta and wasted little time branching out into elements of hardcore, psychedelic rock, and free jazz that expanded on the boundaries of their previous work. Although their previous band's demise ultimately arrived before they were able to truly capitalize on their mounting commercial triumphs, the Mars Volta immediately impressed with their willingness to eschew conventional logic and push themselves...
Full Bio

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