Customer Reviews

Octahedron

5 star:		(25)
4 star:		(17)
3 star:		(9)
2 star:		(6)
1 star:		(3)

 

 

Do you hear that? Its the collective crying that occurs after the release of yet another Mars Volta album. You would figure that at this point fans would understand what the Mars Volta are all about. Do they really not yet understand that the band will never give fans what they want but instead will follow their own creative instincts? You never hear a Bjork fan complain when she goes off and does something really strange like on Medulla or Volta and yet the Mars Volta, a band that is clearly hell bent on being abstract and artistic, gets a lip full every time they go in a different direction. Get over it and get used to it.

I guess its customary to bring up the bands past records when speaking of the most current release and the easiest comparison is that this record is 99% ballads. If "Asilos Magdalena", "Miranda that ghost", and "Televators" were some of your favorite songs than you should be right at home with this album.

My number one complaint (and there were very few of them) about The Bedlam in Goliath is that the band never took a moment to relax on that album. With every song being fast paced and loud I longed for those moments on a Volta record where I could take a breather before the next relentless thirteen minute prog rock latin jazz head bopping track would begin. Octahedron is the Ying to that albums Yang. I for one welcome a much slower album that builds to a more meaningful and impactful conclusion.

Cedric's lyrics are more heartfelt and the emphasis he's allowed to give every line really helps a lot. Where this record will truly shine is when they mix these beautiful songs with their other material in their live show. Otherwise its a more mellow but also a more meaningful experience when listened to from beginning to end. To complain is to not "get" what this band is all about. If you are listening to them you should be more than happy to be surprised on every album. They challenge their fans and it just seems like some fans don't want to be challenged. For them their are plenty of other bland offerings out there. I for one am glad that sometimes it takes a couple of spins to enjoy a track or two.

OK, this album is going to be tough for people looking for that nostalgic feeling those of us have for albums such as De-loused or even Frances the Mute. The last couple of albums have represented a specific groove in my opinion that has lacked some progression from a "feel" standpoint. I personally found that I was almost tired after listening to Bedlam from the onslaught (which I adore about the album). I mention this only to set the stage for this album.

The time signatures are a much more straight- forward as compared to previous albums. However, this doesn't mean that there what can be known as the Mars Volta time signatures/riffs aren't here. The album contains a great psychedelic edge that traverses the soundscape quite well. Vocals represent a format that is more fluid, less manic, than previous albums, which may be difficult for the first-album fans to buy into. This, coupled with more breaks in the song structure (fade out guitar riffs for guitar effects over a bass/drum/vocal combo for instance), over a slower BPM, can come as somewhat of a shock for fans.

The soundscapes Mars has provided here are fantastic. The grooves are no less powerful as well, and in many ways it contains little more edge in its directness (referencing Cotopaxi here, and for those who got picked up the iTune pre-order with the live version have a REAL treat!). I found the nod to Pink Floyd's "time" awesome personally. I haven't seen reviews that picked up on the similarities between Halo and Time. It also is a great metaphor for the feel that they are trying to incorporate into the music, as well as the influence this style of psychedeia has had on their music.

In summary, I totally disagree with the poor reviews. This album does not sound like any other album out there, by other bands or Mars Volta themselves. That's a very good thing, since what secures a bands longevity is whether it can progress as a band. People tend to get stuck in a form of nostalgia, always looking for that "same experience," yet these same people tend to be unable to break out of this old-school vs. new-school paradigm. If this album was Mars Volta's first album, it would absolutely be recognized as a hit. Obviously there's a disconnect between what some people expect Mars Volta to produce vs. what Mars Volta (obviously) expects themselves to produce. This contention has been ongoing since Francis.

For those who are able to appreciate Mars Volta's earlier albums for what they were, and who are interested in hearing how Mars Volta is trying to change up the in-your-face aggressive styling that they have been producing the last couple of albums, I think you will really enjoy this album. For those who are looking for counter-culture rock and roll will also enjoy this. However, for those who are looking for a De-loused or Francis the Mute, you may very well find yourself disappointed again.

I was a little skeptical when I first picked up this CD. The Mars Volta is one of those bands that one can easily classify as "all over the place" or "crazy." They're a not-so-accessible tour de force of maniacal percussion, guitars, and screaming vocals. They take a long time to appreciate, but eventually, after your brain manages to sift through the layers of complexity of chaos, a beautiful and impressive scenery often emerges that was previously invisible and unrelatable.

This album is far more subdued, hence the skepticism. It's difficult to call any territory "familiar" to the Mars Volta, but this album surely treads into calmer and more unfamiliar waters than ever before. Sure, it's a bit more poppy and classically-structured (often with the verse-chorus-verse, etc.)--but man, are these tunes awesome. The opener, "Since We've Been Wrong" is laid back, emotional, and gives such an adrenaline rush when the drums finally kick in at the 5-minute mark that you know you're in for a ride. Teflon kicks in with a radio-friendly up-tempo beat with all around great singing and energy. Halo of Nembuttals is one that slowly grew on me as the time passed--I'd call it one of my favorites now. The melody is one that I first found slightly annoying, yet soon realized I couldn't get it out of my head--and now I love it.

The next tune, With Twilight As My Guide, introduces how good The Mars Volta is at writing slow songs. The two standouts on the album--this tune and the later Copernicus--are very slow but so full of emotion and build so well that you'll be playing it on repeat for days. Juxtaposed with the accessible "Desparate Graves" and the album closer Luciforms--this album really holds a pleasing mix of slow, fast, and medium-paced songs. The more I've listened, the more each tune continues to impress me.

I loved The Bedlam in Goliath, so adjust your barometer accordingly when considering my review. The previous Volta album was a muscular, diverse, intense, disturbing, ambitious album with little reprieve throughout; Octahedron is, from one possible perspective, constrastingly refreshing. From another, it is a weak, dissolved effort; the shortest, slowest, and quietest album thus far from the band, and with few surprises. For those who found that TBiG rocked too hard, the subdued Octahedron will offer some relaxed music, but (as I imagine the majority of fans' opinions are directed) the rest may find disappointment.

As I've indicated, the album is short. Eight tracks, fifty minutes. A numerical analysis suggests the band has grown lazy. Anyone familiar with the progressive death metal band Opeth might see an analogous situation between Deliverance/Damnation and TMV's TBiG/Octahedron. It's clear the decision here for a less bombastic approach was deliberate; the lingering question is whether or not the change is appealing. All TMV fans (in my experience) adore De-loused; many consider it the band's greatest piece of work (I tend to vacillate), and Octahedron contains several cuts that remind the listener of parts from De-loused. Copernicus is almost equal parts Televators and Radiohead. The drawn out, reflective melodies and harmonies featured consistently over the album are interesting, but there is nothing here as haunting as Miranda That Ghost..., or as sprawlingly eerie Soothsayer. Desperate Graves does steal the catchy chorus award, making it a highlight of the album.

The album does rock in parts, and the results are generally not failures. Luciforms, the longest track on the record, alternates heavy, mid-tempo sections with ponderous, mysterious ones; building up towards a climax that is embarrassingly reminiscent of Tetragrammaton (one of the greater pieces of music the band ever created). This latest track doesn't approach the level of visceral delight characteristic of Amputechture, however. This is the worst album from the band and arguably the least progressive; it isn't bad, but hopefully we can expect more energized efforts from them in the future. It seems that the unpleasant occult experiences associated with TBiG may have scarred TMV's creative tenacity. Still, the album is worth hearing for its more exciting moments. Since We've Been Wrong exudes a lulling drift of atmospheric, melancholic prog-pop/rock that beckons at the album's gates for a full listen.

octahedron is not the best mars volta album, not by a longshot. however there are some interesting elements on the album, of course. i am rather disappointed in the lack of presence from other band members. also, the 'pop' structure of some of the songs does lend a couple of them tiresome after repeated listens.
1) since we've been wrong 7/10 - i like the idea of this song, but after repeated listens it's just my least favorite song on the album now. i still appreciate the volume editing in the song, especially the start of the second verse. the song did not need to introduce drums either.
2) teflon 10/10 - this is my favorite song on the album. i love the drums and machine-like revving in the beginning. around 3-4 minutes, the song becomes amazing and a volta classic. please turn this into a jam at shows.
3) halo of nembutals 8/10 - a decent song that grew on me, but i grow tired of the chorus. the lyrics (again this broken trust, heartbreak stuff) are pretty intense "what a foul little temptress, your daughter's become"
4) with twilight as my guide 8/10 - i immediately liked this song, just because it's so haunting. i also appreciate the escalation of the vocals in the chorus. ikey plays the last couple minutes out well.
5) cotopaxi 8/10 - billed as a 'single' type song, i still really enjoy this. it reminds me of 'wax simulacra' but a little better. thomas does the best job in this song.
6) desperate graves 8/10 - intially i thought this was the best song on the album, but again, the pop sounds/structure of it turn me off a little bit now. don't get me wrong, it is still a brilliant song, but i just played it out too early. this might be some of cedric's best vocal work, ever.
7) copernicus 7/10 - a slow, mood conveying song. i could do without the drum machine though, only because it's more annoying than productive.
8) luciforms 9/10 - my second favorite song on the album. the first lyric in the song is classic. plus, this is really the only song with an omar solo, which you realize by the end is a disappointment.

de-loused in the comatorium 10/10
frances the mute 10/10
amputecture 8/10
the bedlam in goliath 9/10
octahedron 8/10

Octahedron is The Mars Volta's 5th studio release, and it marks a noticeable departure from the bands proggy/fusion jazz/guitar freakout trademarks. Is this a good thing? You can decide that for yourself. It takes a lot of guts for a band known primarily for their 10+ minute experimental prog epics, to release an album almost completely full of slow to mid - tempo tracks that focus mainly on atmosphere and melody. The result, for me anyway, is absolutely stunning. Even on their earlier releases, I was drawn to the less frantic songs the most. Such as 'Televators' from De - Loused, 'Miranda...' from Frances The Mute and "Vicarious Atonement' from Amputechture. That's not to say I didn't enjoy their dizzying array of psychedelic freakouts on every release, though. If I didn't, then I wouldn't be a Mars Volta fan. I'm rambling. Back to the review.

Even without all of the prolonged guitar noodling passages, Omar still shines above almost all other members. Adding just the right amount of ambiance and effects to make every song feel other - worldly. Cedric has never sounded better, either. His high notes are still his primary weapon of choice, but the lower registers of his voice come out of the woodwork more than ever before, and more times than not, the effect is great. Thomas Pridgen returns again on drums, and this time more reserved. That is not a bad thing at all, though. Instead of putting every single beat one can do in every time signature into EVERY song, he focuses way more on groove and feeling. I also like it that Juan's bass can be heard better than ever, as well. The man is a beast on that fretboard.

The album opens with one of the best tracks the Volta have ever written. 'Since We've Been Wrong' rivals 'Cygnus, Vismund Cygnus' as best opening track on a TMV album. As soon as the chorus hits, the effect - ridden wail of Omar's guitar blends gorgeously with Cedric's voice. Something else you may notice from this song is that Cedric is writing lyrics that are easier to comprehend. This is a VERY good thing. There are actually some very good lines in the song that proves Cedric has some real talent when it comes to writing. 'Teflon' is a more familiar side of The Mars Volta. A mid - tempo number that resembles some of the best cuts from De - Loused. It also sports the catchiest chorus from the album, which is simply Cedric crooning, "Let the wheels burn, let the wheels burn...' over some pretty groovy drum 'n bass with some subtle washes of guitar.

'Halo of Nembutals' is where the more rasping lower octaves of Cedric's voice comes into play. Especially in the verses. If you listen closely to the first verse, it's amazing how many little subtle things are going on in the background. The second chorus into the bridge has some really sweet moments from both Juan and Omar, too. Although it isn't one of my favorites from the album, this song probably best represents the talent each one of these men have on their instruments. 'With Twilight As My Guide' is where you really begin to see the band pushing their own boundaries. It is the slowest moving song on the album, features no percussion and utilizes spacey keyboard effects and a prominent melody over anything else. It is easily one of the most celestial and beautiful sounding songs they have ever constructed. Some people complain about the prolonged use of ambient fade - out at the end, but I think it helps add to the effect of the track and makes it a perfect halfway mark for the CD.

'Cotopaxi' is the shortest and most straight forward song the Volta has written since 'Wax Simulacra', which it resembles quite a bit. It is ridiculously catchy and sporatic, and I think it will be the first song the long time Mars Volta fans will gravitate towards. Overall, a very solid and well thought out song. It would also make the best single. I hate calling 'Desperate Graves' the "low point of the album" or "my least favorite track", but I THINK it may be...I haven't really decided yet. The verses are absolutely amazing. Maybe the best from the entire album, actually. It's just that when the chorus hits, it seems to lose a little bit of steam. The chorus isn't BAD, by any means. I just think that it's oddly placed and a little contrived. Still, not a bad song at all.

Before I continue, I would like to state that every Mars Volta album has that one song that just takes you in from the very beginning, twists any and all emotions you may be feeling, and releases them all in a beautiful flurry. 'Copernicus' is that song for Octahedron. It is the most beautiful and etheral song that The Mars Volta have ever created. It is the definition of an utterly perfect song. There really is no other way to explain it. It has taken the place of 'Televators' as my favorite TMV track. Every word, every note, every feeling created seems to have a divine purpose. If you are not a believer when you first start listening, just wait until 3:50 and you will see what I mean. I feel like I'm being overly emotional about this song, but that is truly the way I feel about it. It's actually borderline creepy.

The final track on the album is 'Luciforms'. Everyone should know by now that I am the pickiest person in the world when it comes to album closers. The Mars Volta have only let me down once when it came to ending an album. I'm not going to lie, when I first started listening to the song...I had my doubts. I was hoping so bad that it wasn't going to be a Bedlam In Goliath repeat. Then, right about at 4:20, I began to regain hope. From there on, it becomes one of the highlights of the album. Featuring the one and only outright throw - down from Omar. But what he does with that guitar is enough to make up for the rest of the albums lack of excessive noodling. Pridgen also has his shining moment on the drums here, as well.

Overall, I believe this to be the most focused album that the Volta has released since Frances. After repeated listens to Bedlam, I was really fearful of this album being as over - stuffed and uneven as it ended up being. All those fears were cast aside from the minute I started listening to it. This album could even end up being my overall favorite by The Mars Volta. But lets not jump the gun too early. Me and Frances have been through too much over the years to say that just yet...but we'll see. Octahedron, you are eight sides of awesome.

4.5/5

Having been a fan of TMV for only about 3 years now (stunning considering I've been into PROG for a good 25 years), my comments may not be taken seriously by the die-hards. I do have the entire catalogue so I'm not a complete novice.

I can't understand the complaining. Every release has had a different feel. I found it very refreshing to hear a toned down Volta. I love the chaos of Bedlam and the intricacy of FTM and so on but this gave me a chance to really hear their abilities as song writers. This often is well presented in more formulaic hook-driven music. There is enough chops here to give the hard-cores a chubby. This is no downward spiral I'm sure. Musicians (being one myself) have the same mood swings as any artist and perpetuate current moods by craft.

I dig this hell out of this CD and highly recommend it. I think this would be a good starting point to new fans. It's just odd enough to catch interest and melodic enough to not require 10 listens to absorb. Bravo.

Make no mistake by reading other reviews of this album- NO ONE, other than Mars Volta, could have made this album. Lay your expectations of a nostalgically repeating past of Deloused or Francis or whatever album you love coming back for another. The Mars Volta have focused their lens on an element of their style seen in part in every other album they have made (the slow, subtle, melodic)and extended it for a full length album that in my humble opinion, stands FOR WHAT IT IS as a masterpiece.
Buy the album. Open your mind.

Let me begin by saying if you can't appreciate a band that pushes themselves to grow creatively with each release, than The Mars Volta is not for you. To all those so-called M.V. fans who are clamoring for the second coming of Deloused, you unfortunately will most likely glaze over Octahedron, "disappointed" again, and miss out on the sophisticated musical journey they have graced us with. I find this album to be a welcome change of pace from the hectic Bedlam, and am thrilled to have another Mars Volta album that I can put on an listen to straight through, without being subjected to minute upon minute of feedback and synthetic filler (though I do respect the art that the band attempts with such "noise").

Octahedron is some of The Mars Volta's finest work, every note is perfectly placed to produce a transparent, ethereal soundscape, illustrating the maturity, and melodic knowledge ingrained in the soul of this band. From start to finish, Octahedron offers up a beautifully dark, and nearly perfect musical experience. Copernicus is one of the best songs the band has written to date, with Cedric's mind-blowing vocals, gorgeous piano work and Omar's stylish pick harmonics rounding it out.

I can't wait to see them on this tour, the songs from Octahedron will be amazing live and add a nice contrast to the bands other material.

3 1/2

Sure its less cerebral and generally more subdued and accessible than past outings although that seems almost like a blessing when listening to how far off course they've strayed from compositional accomplishments lately, focusing upon derailment instead. Here longtime fans may sigh collective relief at this conscious attempt to wrangle elements astray, but we can only still continue to wait however for that Deloused part 2.