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Deloused In the Comatorium

The Mars Volta

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iTunes Editors’ Notes

As any fan of theirs will tell you with a hint of madness in their eyes, At the Drive-In broke up at the most inopportune moment imaginable — three records into what would later be hailed as an influential career, right when late night TV programmers and Joe Post Punk finally realized just how good the spastic Texans were at music as sharp and snaggle-toothed as a serrated chef's knife. That's okay, though, because the preemptive exit of one promising band allowed for the choose-a-side creation of two more: the At the Drive-In-never-died power emo of Sparta and the drop-the-post-and-add-some-prog punk of the Mars Volta. The latter's most accessible (and arguably, best) full-length was also its first. Simply put, Deloused in the Comatorium stunned everyone once it hit store shelves, from the most casual ATDI concertgoer to the few people who actually heard the group's live and loose dub project De Facto and might have expected something a bit more experimental this time around. You know, an album that actually sounds like a long player, spewing out a blend of psychedelic pop, rock and electronica that's so seamless it grips you like an epic matinee movie. An album for the ADD afflicted this is not, but if you're looking for something truly transcendent, this is it.

Customer Reviews

A slice of genius from The Mars Volta

De-Loused in the Comatorium is a modern day classic by The Mars Volta (produced by Rick Rubin). A bombastic fusion of progressive rock, metal, and punk that could be an episode in "The Twilight Zone": 1. Son et lumiere - A chilling intro. Makes you wish it was a much longer song....B 2. Inertiatic ESP - Sounds like a new At the Drive-in song, with a Mars Volta twist.....A- 3. Roulette Dares (The Haunt Of) - Experience an acid trip without actually doing acid....B+ 4. Tira Me A Las Aranas - "Throw Me to the Spiders"....cool....C 5. Drunkship of Lanterns - Reason # 91 to go see The Mars Volta live: at about 4 minutes into this song all the instruments die down for about 20 seconds, then drummer Jon Theodore brings us back in with galloping drums, along with bassist Flea (Red Hot Chili Peppers) and guitarist Omar Rodriguez-Lopez cleaning house.....A- 6. Eria Tarka - As far as I'm concerned this is the best song on the album. It also contains the defining moment on "De-Loused", at about the 4:45 minute mark until the music stops is the highlight of the album: with singer Cedric Bixler-Zavala letting out howling screams reminiscent of Robert Plant, and the backdrop of all instruments going full bore, is enough to blow one's mind.....A+ 7. Cicatriz ESP - Just try and not sing (or yell) along with Bixler-Zavala when he screams "I've Defected" throughout this one.....A- 8. This Apparatus Must Be Unearthed - The Mars Volta definitely has the "go hard as hell for 30 seconds and then slow it down to nothing for 30 seconds" method down. Sweet helicopter riff at the end of this song.....B 9. Televators - As close as you'll get to a ballad on this album. "Pull the pins. Save your grace. Mark these words on his grave." Just a great tune....A - 10. Take The Veil Cerpin Taxt - I can't think of a better way to end a great record like this, than with this song. The ending of this song turns into almost a reggae blues song but then slowly morphs into a whirlwind of punk and metal, before the haunting conclusion with Bixler-Zavala asking "Who brought me here? Forsaken, depraved and wrought with fear. Who turned it off? The last thing I remember now. Who brought me here?"....A-

Landmark album in new wave progressive rock

Deloused in the Comatorium captures many of the characteristics of higher progressive rock bands of the early 1970s and updates the sound, texture and effect with a millennial dose of punk, modern rock and alternative.  Telling the somewhat obtuse story of a man's descent into the underworld, the lyrics are deep, obscure and mystical.  The music serves to accent the tale in a fashion that has long fallen out of mainstream favour, but which makes this more of a complete work than a collection of three minute radio friendly snippets.  While punk and progressive were the epitome of "at loggerheads" in 1978, the blending here is an unforgettable mix of lengthy ethereal explorations punctuated by heavy interjections that course the piece along.  Standout tracks are "Televators" and the crushing "Son Et Lumiere / Inertiatic ESP" which opens the album, although this is an album that cries out for full exploration, not a piecemeal purchase.  Best experienced with headphones, in the dark, with full concentration.

Greatest Band Ever

The Mars Volta hands down is the greatest band ever. This album is also their best. Most bands are all about screaming and loud and all over the place guitars and drums. This band brings skill to every aspect of music. Vocals, instruments, and collaboration. Amazing instruments that give you a perfect mix of progressive rock, salsa, and a psychadelic twist. If you know and like good music buy this album and you won't be disappointed.

Biography

Formed: 2001 in El Paso, TX

Genre: Alternative

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