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The Bedlam In Goliath

The Mars Volta

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It can't come as a surprise that the Mars Volta's fourth album opens with a bang — sonic terrorism is one of the only things listeners can count on from the band — but it's genuinely novel that The Bedlam in Goliath never lets go of its momentum, not even after a full hour's worth of unrelenting war on silence, the wrapping paper for a concept album about the power of the occult. On their first three proper albums, Cedric Bixler-Zavala and Omar Rodriguez-Lopez played games of quiet-loud-quiet (or loud-quiet-loud), sneaking around stealthily for minutes at a time before detonating another blast of thrash metal riffing and piercing screams. The Bedlam in Goliath is simply loud-loud-loud, virtually every song played at maximum volume and tempo. But, in fact, instead of being wearisome or exhausting, it's an oddly refreshing album. The band gets closer to its roots in thrash and funk-metal than ever before, avoids using electronics except where they can make a big impact, and finally lets semi-permanent guest John Frusciante occupy a readily discernible role. The "Goliath" of the album title is the name given to a spirit conjured by a Ouija board that Rodriguez-Lopez bought in Jerusalem; the band used the board heavily while on tour, and it supposedly brought bad luck to the entire recording process — including reports of computer poltergeists, flooded studios, and a nervous breakdown for the album's first engineer (who may have simply been driven over the edge by the band's musical extremism). Musically, it's the funkiest work the band has ever done. No one's going to confuse them with James Brown (or even Red Hot Chili Peppers), but in a ten-minute streak that runs from the end of the third track, "Ilyena," through the single "Wax Simulacra," and to the end of "Goliath," an eight-minute extravaganza, the Mars Volta finally seize the mantle held by Rage Against the Machine for a dozen years (thanks in large part to Frusciante, as well as new drummer Thomas Pridgen). The band also exhibits more patience on The Bedlam in Goliath than it has in the past. No one who cares about the band should be interested in hearing a "maturing" Mars Volta — you might as well ask for a sun that wasn't as hot — but the band has shown the ability to mature in all the ways they can without losing what makes them unique. The album is as dynamic as ever (it seems to live perpetually on a knife's edge of tension), but it's more closely composed than Amputechture or even Frances the Mute. This should have been the album where the Mars Volta either wore their formula down to nothing or abruptly turned in a different direction, but instead the band created an album that nearly perfects what they've been working toward.

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Le nouveau Volta rappelle Tremulant ou bien deloused, plus musclé, les distos plus présentent dans le mix, les parties de batteries de Pridgen sont tout bonnement hallucinantes l'album dégage une puissance rarement atteinte depuis la fin de A T D I. Les influences de Yes sont encore très présentent sur des titres prog rock tels que Metatron mais pour la plupart des morceaux les structures sont plus sages genre amputechture (ça part moins dans tous les sens et les solo du génial guitariste, compositeur Omar se font plus discrets). Les lignes de chant de Cédric sont toujours aussi géniales lorgnant limite sur le heavy metal pour des morceaux comme Wax Simulacra. Quant à la production c'est toujours aussi impressionnant maitrisé de bout en bout et d'une grande finesse (pas d' empillage de pistes et de grosse compression histoire d'avoir un gros son comme beaucoup de leur compatriotes metalleux). Bref surement l'album le plus réussi du groupe à tous les niveaux. Seul bémol, comme sur tous leurs disques, (à mon sens) certain morceaux (soothsayer) cassent l'homogènéité de l' ensemble.

Une tuerie

L'album le plus accessible depuis Deloused in the Comatorium

Génial

J'adore, surtout les Morceaux Wax Simulacra, Goliath et Abernicula, mais les autres sont excellents aussi. Bonne Ecoute !

Biographie

Formé(s) : 2001 à El Paso, TX

Genre : Alternative

Années d’activité : '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...
Biographie complète