Cedric Bixler Zavala and Omar Rodriguez were singer and guitarist of At the Drive-In, a punk band sti cocks who recorded post-core, before its members share to create two other bands (The Mars Volta in fact, mediocre and Sparta), a new album very energetic and, for the period when it was published, bizarre and catchy enough to attract crowds of tired of alternative nu-metal phenomenon (which, thank god, was already fading) and fed the their latent desire for low-fi indie and scratching sounds that had long frustrated monolithic '90s. In a nutshell, the At the Drive-in was what today might be Enter Shikari, or a bunch of big babies who are jumping to bolster the under 20, snatched a few words of approval to leave over 20 and those over 30 rather indifferent.
For their part, the Mars Volta have to date released three albums and suonano un progressive imbastardito con latin jazz, punk, indie e altre storie pesissime, insomma, uno di quei zibaldoni musicali post-moderni che fanno gridare al miracolo ogni buon liceale affamato di novità. Desidero partire dal loro secondo lavoro, Frances the Mute, perché è stato il più discusso e, secondo il sottoscritto, resta il loro prodotto più significativo. Ho scritto significativo, non migliore...sì, perché De-Loused in the Comatorium (il loro primo album) è esemplare, è prodotto meglio (anche se in modo più standard) e le canzoni sono cristallini esempi di ineccepibile estro compositivo. Frances offre qualcosa di più. Si comincia.
TECNICA
Allora...diciamo things as they are called. Omar and Cedric are two talented cock, but undoubtedly cock. Omar plays with a piece of wood instead of the pick (and who should have heard his solo album can only confirm this impression), and Cedric has shown its limits multiple times in the live (and who should have heard her live will not confirming ... etc, etc. ...). I mean ... do not be fooled by the exceptional talent of John Theodore, the drummer who has accompanied them in albums and in almost all live (not in the past, since he left the band ... haha! Subjection, the range to find another way batteraro ...), nor the professionalism of the bassist who plays in Comatorium (a Flea, bah ...), even less undeniable keyboard playing (the color, his predecessor, we have not had time to evaluate it, as if heroin is taken away in 2003, Porello, I mean really. He participated in the composition of one of best albums of the last five years and has not had time to know, that joke ...). No, do not be fooled. Technically speaking, Omar and Cedric are two big cocks. I mean, cock for a typically moving prog. If we went to other genres, we'll be looking at two genes, but for the unworthiness of the genera in question (do not let me mention, I do not want to offend fans of frantic times upbeat).
'm not pulling me, I swear, is that solos improvised in parts Omar the album (the less successful) are quite inspired, but they lack sensitivity and creativity in the use of the instrument, because of the sudden, oh, there are cocks taking, du 'scale and some exercises should be done first at home, maybe for a few hours a day and for some years. His partner Cedric has made a very good disk, especially in songs like Cygnus bla bla bla (TSI securities not remember them ever) and The Widow, but when thoughts turn to the live performances easily available on the net falls hopelessly proceedings .. . ugh, shudder ... sin.
Rating: 6.5
CREATIVITY '
Well, here we go better. Let us just one thing: Frances the Mute a concept album that will make you angry, because it alternates solid and well structured improvisations of questionable effect, and long minutes (talk about a good half hour on an album of 75 minutes) of echoes, reverbs astral synth crap so disjointed and other amenities dear lovers of Hermeticism and ambient noise. The intellectual elite music lovers who like that sort of thing I recommend to skip the most human art to devote himself to a masturbatory epistemological analysis of semiology sound contained in these long fragments of musical nonsense, others (those who still mioddio, gets excited rock style ballads with Wolfmother's Mind's Eye) recommend just had to press forward udire l'ennesimo lamento di sottofondo farsi strada tra una canzone e l'altra. Si fosse trattato di qualche minuto qua e là, li avremmo potuti definire "stacchi atmosferici volti a corroborare il legame tra flusso sonoro e mentale che ogni buon concept album sottende", ma così viene spontaneo chiamarli per quello che sono: 'na gran rottura de cazzo.
Certo, se Frances the Mute fosse stato asciugato, oggi sarebbe più godibile, forse migliore, ma proprio in virtù di questa sua poca digeribilità è molto amato o detestato ed è, a suo modo, più mediatico, a partire dalla sua copertina, che raffigura un uomo dal volto nascosto e alla guida di una macchina d’epoca, fino al suo leitmotif, che a tratti concede (There are moments really evocative, almost brilliant), sometimes off (especially the will to live).
Rating: 7.5
CARISMA
Here, with regard to the charisma, the Mars Volta n'an menga gninta gnisùn to learn from. To realize this, just look at the African heads of the two founders of the band, just admire the skill with which Cedric spins the microphone on stage (often live in the thing that he does best), just count the number of times that Omar is likely to sprain their ankles when on stage and embraces the guitar ... mostly just listen to this album. That is, the human part of this album, I forgot ...
Ok, talent del duo è spesso fuori controllo, caotico, quasi barocco nelle sovraincisioni e nell’uso di ammennicoli ed effettistica varia, ma il risultato, laddove viene mantenuto più rigore strutturale, c’è tutto, sia nelle canzoni più progressive e articolate, sia nelle ballate come The Widow, uno di quei pezzi che i melomani intellettuali del cazzo di prima magari snobbano con alzata di ciglio e mano sul girocollo, ma che a noi mortali che ancora ci cibiamo di amore e cicoria non possono che regalare pelli d’oca a fil di pentagramma, soprattutto nei viaggi notturni in macchina verso casa.
Voto: 8
CONCLUSIONI
Gran album. Con tanti se e tanti ma, eppure grande. The substantial burdens undermine the style but not the sink, the cock of Omar and Cedric will undermine the professionalism, but did not decapitate, the absurd division into tracks by producers tax makes it more difficult to use, but does not affect the enjoyment. In short, much has been done to make this album a pigeon shit, but his efforts in this mission of the forces of evil music was not enough. Omar and Cedric (this time) were almost completely rescued by them and we thank them (not at all for Amputechture, but, to quote Michael Ende, that's another story).
Rating: 7.5
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