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De-Loused In The Comatorium
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You can still hear many of ATDI's hallmarks inside the spasmodic dynamics of "Take the Veil Cerpin Taxt" and "Eriatarka"--it's just now they're immeasurably more complex, governed by time signatures responsible only to some alien logic, and cast out on ever more remote waves of mind-bending conceptual fantasy.
Bixler's serrated howl has mellowed somewhat, veering here from tender croon to shrill falsetto. And interestingly, Flea guests here, although you wouldn't know it: his brooding basslines bear nothing of the slap-happy funk he displays in the Red Hot Chilli Peppers. But ironically, the most startling contribution comes from the band's late sound manipulator Jeremy Ward, who passed away after a heroin overdose on the eve of this album's release. His dubby ambient fills unfurl in the valleys between each jagged instrumental peak, lending a truly otherworldly feel to proceedings. A morbid legacy, but thankfully, far from this album's only selling point: De-loused in the Comatorium is the rare prog-rock landmark that prizes punk passion over meandering pretension. -- Louis Pattison
Top Customer Reviews
"Inertiatic ESP" is the first real song (the first track just being an intro to it), and it starts the album off in a rocking fashion, with Cedric yelling "Now, I'm lost" over some speedy riffs and drumming. Cedric's vocals may be kinda hard to get into, but I loved them the first time I heard them. I dunno. He's kinda wail-y at times, but it's cool. "Roulette Dares (the haunt of)" is one of my favorites on the album, mixing speedier sections with catchy vocals with softer, prettier passages of guitar explorations (and one almost free-jazz-esque part that's really amazing). There's definitely some King Crimson influence in this one. "Cicatrez ESP" is another highlight, a 12 minute long piece with a long synth interlude and lots of cool guitary stuff. "Take the Veil Cerpin Taxt" has some of the coolest guitar playing on the album in it's second half; it really must be heard. It's like Crimson-jazz.
This album will probably take a few listens to sink in if you even like it at all, but I give it a high recommendation to those looking for something original and progressive. Don't expect "prog" however...As Cedric said on their website, it's progressive, but has much more of a punk aesthetic to it.
This album definitely takes some patience and some getting used to, but isn't that true of all your favorite albums? A lot of the songs have some strange bridges and tempo shifts, but then shots of amazing melody that makes the whole song make sense...if that makes any sense. I'm still having a hard time with track 5 (sorry, don't know names). I instantly liked Track 2, still my favorite track. Tracks 3, 6, and 10 are also standouts, although it's really hard to find a bad track on this album. I'm sure eventually I'll even dig Track 5
If you're like me, you're constantly in the market for new music, and are constantly being disappointed...but this is hard rock, prog rock, whatever you want to call it at its very best. It's loud, smart, unique, melodic....just BUY IT.
"De-Loused ..." is focused and powerful. Let me reiterate: it is powerful without being overly "heavy." The drumming and bass playing isn't slow, plodding and methodical (i.e, BORING) like many hard rock bands. I would call it "athletic" or explosive. Wait until you hear it ...
"De-Loused ..." is a masterpiece that gets better with every listen. This is definitely an album that takes a few listens to totally grasp, (and I liked it on the very first spin) but don't let that last statement put you off: it is easy to listen to and enjoy, while at the same time, it is challenging. You just can't get a handle on the entire package in one listen.
The sound on this album is amazing. I'm an audiophile and have been very dismayed at the recent trend to "turn up the volume" (i.e., record at a higher average level) of most new CDs, which simply DESTROYS the dynamic range and ultimately the fidelity of the recording. Most of the (modern) music that I love sounds [terrible] on a great stereo. This - on the other hand - sounds absolutely wonderful. You can easily follow each and every one of the complex, interweaving musical lines in this mix. This clarity allows you to really hear what the artists want to convey. I just keep turning this up louder and louder and it sounds better and better.
So far, this is the best and most adventuresome album of the year.
BUY THIS NOW!!! SUPPORT GREAT MUSIC!!!
More prevalent than the former musical elements are the inclusion on a somewhat more psychadelic approach. In areas the music is reminiscent of Led Zepplin and Cedric sounding like Geddy Lee.
But The Mars Volta puts a much more modern twist on it. Combing frenetic sampler beats and distortion as well as almost Doors-esque jazz.
And of course, there is the brilliant, yet often inexplicable, lyrics. Self-admittedly selfish, Cedric lyrics cater to his own sensibilities with an attitude of "If we get it, somebody else will". Knowing that the album is dedicated and based upon the life of Julio Venegas helps to act as a loose guide in decrypting some of the lyrics. Even those that one isn't able to annunciate the meaning of still have their own way of touching you in a very personal way. A way that couldn't have been put better. In these sense the abstract, occasionally disjointed nature of the lyrics acts simultaneously to both generalize and specify a particular emotion or event to the listener.
All-in-all it is a brilliant album. It magneticly pulls the listener throughout the sonic landscapes they have created. And I loved it, every step of the way.
Most Recent Customer Reviews
The greatest work of Mars Volta. An Album that belongs in the library of everyone with interest in music.Published 1 month ago by Brad
truly did love At The Drive In and The Mars Volta rocked tooPublished 1 month ago by Scooter Lee Jackson
sometimes prog becomes slog. Maybe I need to take mushrooms or something to get into this.Published 4 months ago by James P Fenton
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