There’s by no means been one other band fairly like The Mars Volta. The Texan troupe — spearheaded by guitarist Omar Rodríguez-López and vocalist Cedric Bixler-Zavala — grew out of post-hardcore outfit On the Drive-In and have become one of the vital distinctive rock bands of the 2000s. By fusing a bunch of various types (progressive rock, ambient, Spanish rock, psychedelia, free jazz, and many extra) with delightfully unusual ideas, all six of their preliminary studio albums supplied one thing typical but particular.
Sadly, they referred to as it quits following 2012’s Noctourniquet, with each Bixler-Zavala and Rodríguez-López selecting as an alternative to deal with solo work and newer tasks (equivalent to Bosnian Rainbows and Zavalaz, respectively).
After all, the mid-2010s noticed the short-lived reunion of On the Drive-In (together with 2017’s in•ter a•li•a, their first new document since 2000’s Relationship of Command); naturally, this growth — alongside the duo forming Antemasque, and Cloud Hill Group releasing a career-spanning Mars Volta boxset, La Realidad de Los Sueños, in 2021 — prompted a ton of hypothesis and need relating to a possible comeback for The Mars Volta, too.
That kind of brings us to The Mars Volta, the ensemble’s seventh studio LP and first in over ten years.
Billed because the band’s first pop document — with an emphasis on Caribbean rhythms — it drew inspiration from Peter Gabriel’s 1986 triumph, So, which (the press launch notes) “noticed one in every of rock’s most experimental, progressive and usually uncooperative voices discover a approach to ship his avant garde concepts and highly effective subversion in a method that mainstream audiences would be capable to decode.”
The identical holds true for this LP, which sees Rodríguez-López and Bixler-Zavala teaming up with drummer Willy Rodriguez Quiñones, bassist Eva Gardner, and Omar’s youthful brother, keyboardist Marcel Rodríguez-López.