The cohesion you're looking for is the album in its entirety. Listening to one TMV song is kind of like listening to 20 seconds of a less experimental song. You never have the context of the album and the themes and even recurring melodies.
Usually when you get a shift in the music in this album, it's a shift in character. Goliath is four characters wrapped into one, and there's a few times throughout where they try to speak over each other, take control of the narrative, put words in each other's mouths, or directly address the band/listener, and I think that's what's going on in the middle section. Either way, it's surreal and at times unsettling. I also never really saw this as more experimental than Frances the Mute, but as always your perspective on this has made me rethink what I thought about the Mars Volta as a whole. Now I'm kind of seeing Frances the Mute as different kind of experimental than Bedlam in Goliath. Frances the Mute likes to explore the story in the long meandering jam segments and interludes, while Bedlam in Goliath is more in your face with the story, preferring to let the characters stay front and center as the music tries its best to accommodate the chaotic shifting emotions and thoughts in the vocals. Thanks for taking my selection by the way. You make me think about this stuff more than usual which really helps me to appreciate it more.
They have a documentary that's coming out now. I saw something just the other day about Omar & Cedric basically agreeing that after their 3rd album Amputechture they lost their way a little, which I found to be a little suprising personally as I love all their music. As others might've mentioned to you before about this album, it's particularly infamous for being one of the most cursed recording sessions ever because they had bought a 100+ year old ouija/divination board from mexico that brought hauntings and destruction upon them.
i heard they went through many unfortunate events during this time too, like deaths and equipment being flooded, as they described this album as a winter compared to the album after this which was the spring.
Amputechture is a mess. A beautiful, psychotic, overwhelming, and precisely assembled mess. It's an album that I originally disliked, but now find myself revisiting again and again trying to make sense of the insanity. Also, the board was from Jerusalem, not Mexico.
Hahaha, you and Mars Volta again, it's hard to believe people are still trying to make you like it :D Ok, so I won't be able to explain the lyrical concept of the album, but I might give some general context. Bedlam in Goliath is definitely the most difficult volta record to listen to. It starts with a huge wall of sound from the very first second of the first song - "Abernikula". The whole album (12 songs, the rest of 19 you mentioned are some bonuses, covers, demos etc.) lasts 75 minutes and it is all very noisy, dissonant, layered and apparently intentionally over-produced. Omar was feeling particularly experimental (and alleged curse hanging upon the band during recording process might have had something to do with it) and in effect there's really a lot going on here. For instance you have a sound of the phone interference incorporated into "Askepios" - the story goes that Omar was so annoyed that people keep forgetting to turn off their phones before entering the studio, that he decided to keep it in the recording. The band said they used to write labyrinth-like songs in the past (in contrast to what they are doing now) and I'd say that in the context of this album and what they did earlier Ouroborous is a very simple one. As you said, you have AB-ABC-BC-DC. If you treat A and B as a whole, you basically get a classic rock-song structure. The way I see it musically is that you have a huge contrast between AB and C, they represent two sides of the spectrum with one being fast, hectic and loud, and the other slow and more focused on melody and harmony (volta-style). Then they make them come closer together: C is played with full arrangement and louder at the end, while latino-syncopated style of AB part is replaced with punctuated part D - slower, but bringing back a bit of that initial energy. In that way it musically somehow eats its own tail, at least this is how I see it. Also the C part ("Of all the warnings that you gave me...") comes back 4 times. Although the song doesn't start with it, constant repeats give it a little bit of circular character, almost as in rondo. Another thing I noticed is that the characteristic, djent-y rhythm that starts right after 4:30 mark is very similar to the one played in one of the previous tracks - Cavalettas. I don't have an idea what does it mean, but at least in the wider context of the album it doesn't come out of nowhere. One last thought - you said that you know that sometimes it's better to watch a movie more than once to really appreciate it. Maybe you should do an experiment and do a reaction to a second or third listen of one of their songs, so you actually give them a proper chance ;) Personally I don't think you would like it anyway - I mean: you seem to be quite biased at this point and tbh I can't blame you (especially with probably not the easiest song choices you had to face). But then I hear you saying that something is disjointed because you just don't seem like the contrast or sudden changes (even though you know perfectly well they will happen in TMV's music), or you feel that consecutive part of the song don't have anything in common (even if they do, but to see that in one listen is hard when the devil's in the detail such as rhythm or harmonic composition). And that's just frustrating, because what's the point of doing this over and over again if your first reaction is usually being overwhelmed and annoyed. And don't get me wrong - I'm not trying to attack or blame you, I am quite sure that this is mostly about the limitations of the form of reaction you practice and that's not your fault that sometimes it works better or worse depending on the kind of music you listen to. I wouldn't be watching (and writing essays in the comments) if I didn't like what you're doing in general ;)
To be fair, I'm not trying to get him to like it, it's really more that I'm just trying to get a better understanding of the band. I never really thought about my music much until I came across his channel, so it's nice having someone provide an outside perspective on it, especially a more critical one.
man was i hooked, seeing u again covering a tmv track. a track that has some kinda high rank in my musicial gusto hierarchy. again u deliver with trying to go as deep into it as u can go after hearing it the first time. always interesting to follow and reflecting alongside. something i never did the last 16 years knowing the track, having heard it like, i guess, many hundreds of times. my approach to music is always for use of emotional and inspirational reasons. and for me the richness of contrasts in the song in matters of pace, loudness, aggression, variations, density and lots of other things in that compact form is a joyful experience every time it enters my ears again. i studied music back then and checked out soon after, as i understood that it could decrypt my love to music in general and i didnt want to loose that. i am much older now and its sad i dont have all the knowledge i could have^^. the good thing is: i am still in love with songs like that. and i am in love with their kind of creativity.
Musical knowledge, like most knowledge, is a blessing and a curse. It's like learning a magic trick, some of the wonder is lost in exchange for information. But knowing all of the inner workings of a craft can also build a new type of appreciation for the work and dedication that goes into it too. Ultimately I think it's about walking the line down the middle, knowing enough to appreciate all of the nuances while keeping an open mind and finding joy in the simple stuff.
@@acomamind I have to disagree with this take. Omar is one of the most intelligent and knowledgeable musicians in all of Rock music. He knows exactly what he's doing. I suppose you could compare it to abstract art or avant garde. No one says "Picasso was a shit painter who didn't know what he was doing".
@@CriticalReactions true true. the balance is crucial in the end but its also possible to start at one extrem and then progress towards the middle. it can cause problems, like sticking to the manual to much or not being able to let loose or on the other side having troubles with structurally working on tracks limboing 'round to much in the emotional chaos. if u already begin from the middle u may lack of the advantages of the extremes ,which would be like missing to know the highest heights of emotional creation ,with giving up most of ur concioussness to let music run freely out and watching it mixing together with the muscians around u or ,from handcraft perspective, getting satisfaction from reaching close to what is technically possible in skill but also in organization. all in all, every path can be enough to find entire happiness in ones self-realization. i agree when saying, music that lasts presumingly ever needs the creator to be somewhat in the middle, as cultural 'producs' from the extrems are maybe just enough for demonstration purposes, cause its hard to rely with when ur not totally into that. While this comment is getting way to long, just one last thing said: for me, music with a certain lack of handcraft/professionality/structure still can work way better than such with too few of a bonding emotional component to notice.
@@alibabaschultz352 hm. ur right with everything u've said. i just dont get the line of mine, where i put out something else. honestly, i dont know^^. i am kinda aware bout his style of working and have consumed some stuff from jam sessions, his soloalbums, side projects... he is maybe the most respected musician of mine. but what did u mean? tell, please if still nessessary...
Totally agree. They do a lot of stuff that I like and package it in a soundscape that I'm generally not a fan of and that tension pulls at me, every single time.
This is definitely my favorite record of theirs, but I do love the first half of the record more. To me some of it sounds like classic old Santana on crack and acid. Thomas Pridgen’s drumming on this album is one of my favorite drum albums.
just got back from watching the Cedric and Omar documentary at the Texas Theater (where Oswald was caught after assassinating JFK)...a lot of words to say it was really really good. any fans should check it out for sure.
I can't say I enjoy the random slow sections - same as you - but I think I loved the driving sections enough that I still love it overall. They're usually a miss for me but this one's an exception
yeah as you said at the beginning, every song is different and every album doesnt sound the same as the last. This one is very frantic and everysong hitting all possible frequencies your ear can hear lol. Not my favorite but it's cool trying to see you make sense of the craziness of the songs. Their whole discography shifts from "normal" to crazy experimental up until their most recent album. I dont know why anyone hasnt recommended deloused in the comatorium yet, imo their best and most coherent work
While I love a lot of this album, this is also the album where the to me it sounded like TMV started to lose a bit of the identity and cohesion of their previous albums. Cohesion is a funny word to use when it comes to TMV since their music on the surface can sound very discordant, but there was a shift on this one that was noticeable, that sounded like they were starting to lose their shared direction in music.
That's how i feel about this album as a whole, as well as amputecture. There's sections that I really like, but there's some that feel out of place. The structures of many songs on this album seem odd. The biggest example to me is Cavalettas. If parts were rearranged, and the momentum felt more consistent, I would listen to more of these songs on their own.
I love Pridgen's drumming. I think he's why I love this album so much. I wish I could like TMV more but I can't get into their lyrics, as they seem quite nonsensical to me.
likewise in love with the drums here too. as a non-native it would be work, to understand the lyrics and i know i miss alot not doing so. but i also know that i evade the problem of urs by that^^ so i only translate songs if they really make me to, even if they could destroy my love to a song, if they are underwhelming in a certain way. i have this song on my old but still often used mp3-player and i never ever tried to understand the meaning. i created my own use for the song emotionally and what it means to me. and for that it works pretty well i guess..
@@acomamind Oh yes! That's good to hear! If it speaks to you, in that way, that is great! Art is subjective, so the meaning you give to the song is the right meaning. :)
@@piscesfreak1 but if u like the drums ur maybe interested in deantoni parks appearence on their 2012 album 'noctourniquet'. in some parts i am leaving the rest aside and only focus on the drums cause they are so furiously and crazy offbeat - and i am normally a melody/athmosphere guy... but yea. there are lyrics too^^ and thx for ur words. u have the spirit
The non-sensical lyrics are part of what makes the band work for me. I love music that can be approached as a puzzle rather than something straight forward.
I think this is one of at least 4 songs on the album that lose most of their context outside of the album line-up. This album is more of a continuous piece of art, rather than a collection of disparate works
I think your apprehension with The Mars Volta comes from the simple fact that The Mars Volta writes albums, not songs. The big exception to that is the most recent album.
critical, do not review anything from this album (bedlam in goliath). there's loads of problems they had. their initial tapes got stolen by one of the managers and destroyed the tapes. Then their studio flooded and lost more of the recordings, they had to piece everything together and rush the final bits. This album was a complete mess. The drumming was great but it did make it more of a prog metal album. The drummer really shines on their next album (which is even worse than this album). Noctourniquet was a very good album though which came out after octahedron. The only song I liked from this album was Ilyena. EDIT: Cavelattas is decent.
Lol stick to pop. Its hard to disagree with the comments as those are the themes that are best appreciated by the fans. Its just different strokes for different folks situation.
aww too bad. this is one of their worst. the song is just a pretext to the new drummer showing off. boring. the song structure is very weak. the chorus is a pain, and it is repreated many times... you'd enjoy so much more the Agadez track... best one off the album
For me personally, this is one of my least favorite albums from them. For me, this is their "metal album". Everything is cranked up to eleven production wise, but also musically. The drums are constant. The riffs are constant. Every instrument is EQed to the max.
This dude is always so filtered by TMV. Talking about lack of cohesion this and composition that, but never just listening to the musicianship, guitar riffs, basslines, drum fills, etc. Badass is badass, stop trying to pseudo-intellectualize things (even if that is your whole schtick).
He's not trying to psuedo-intellectualize, he's trying to understand the intent of the artist based off a one-off listening of a single track. He appreciates the musicianship, he's just trying to figure out how the creative choices fit the story the artist is trying to tell, which in the case of the Mars Volta isn't exactly straightforward.
As drosera said, their musicianship is solid but what does it mean? Why make the choices that they do? It would be like a painting with a hyper detailed, realistic human drawing surrounded by childish crayon drawing and scribbles that happened to have gorgeous color composition and choice. I appreciate the skill but I'd be confused about the purpose. And I don't think that's necessarily a bad thing. Good art is supposed to challenge us, after all.
@@CriticalReactionsWe want to talk about purpose? God damn platypus! Echidnas, have four penis heads! Purpose is elusive af at the best of times. There are things in nature whether it's The Mars Volta or Hyenas phallic Vaginas that are outliers. Even trend setters. ;) Echidnas, check those dirty guys out.
![ILLSLICK - KILLSHOT REMIX [FULL VERSION]](http://i.ytimg.com/vi/RIK8RrqIAzE/mqdefault.jpg)
Bryan getting increasingly peeved with each The Mars Volta request is starting to become my favorite part of this channel.😛
Lmao
This is one of my all time favorite songs 😍
funny he seemed to "live" really enjoyed it. but he gets in to the theory side of it after the fact and finds some disagreeances haha
Thomas Pridgen really brought the heat to the percussion on this album
He was 24 when he recorded those parts. What a legend.
When this album came out I broke my body learning to play it on drums
The cohesion you're looking for is the album in its entirety. Listening to one TMV song is kind of like listening to 20 seconds of a less experimental song. You never have the context of the album and the themes and even recurring melodies.
Usually when you get a shift in the music in this album, it's a shift in character. Goliath is four characters wrapped into one, and there's a few times throughout where they try to speak over each other, take control of the narrative, put words in each other's mouths, or directly address the band/listener, and I think that's what's going on in the middle section. Either way, it's surreal and at times unsettling.
I also never really saw this as more experimental than Frances the Mute, but as always your perspective on this has made me rethink what I thought about the Mars Volta as a whole. Now I'm kind of seeing Frances the Mute as different kind of experimental than Bedlam in Goliath. Frances the Mute likes to explore the story in the long meandering jam segments and interludes, while Bedlam in Goliath is more in your face with the story, preferring to let the characters stay front and center as the music tries its best to accommodate the chaotic shifting emotions and thoughts in the vocals.
Thanks for taking my selection by the way. You make me think about this stuff more than usual which really helps me to appreciate it more.
Yesss we love to see more Mars Volta reactions!!
That distorted voice is supposed to be Goliath speaking.
They have a documentary that's coming out now. I saw something just the other day about Omar & Cedric basically agreeing that after their 3rd album Amputechture they lost their way a little, which I found to be a little suprising personally as I love all their music. As others might've mentioned to you before about this album, it's particularly infamous for being one of the most cursed recording sessions ever because they had bought a 100+ year old ouija/divination board from mexico that brought hauntings and destruction upon them.
i heard they went through many unfortunate events during this time too, like deaths and equipment being flooded, as they described this album as a winter compared to the album after this which was the spring.
Amputechture is a mess. A beautiful, psychotic, overwhelming, and precisely assembled mess. It's an album that I originally disliked, but now find myself revisiting again and again trying to make sense of the insanity.
Also, the board was from Jerusalem, not Mexico.
I just saw it at the Texas Theater here in Dallas. it was awesome! learned more about the sex life of the band mates but that is ok haha
let's goooo this album is so good
Hahaha, you and Mars Volta again, it's hard to believe people are still trying to make you like it :D
Ok, so I won't be able to explain the lyrical concept of the album, but I might give some general context.
Bedlam in Goliath is definitely the most difficult volta record to listen to. It starts with a huge wall of sound from the very first second of the first song - "Abernikula". The whole album (12 songs, the rest of 19 you mentioned are some bonuses, covers, demos etc.) lasts 75 minutes and it is all very noisy, dissonant, layered and apparently intentionally over-produced. Omar was feeling particularly experimental (and alleged curse hanging upon the band during recording process might have had something to do with it) and in effect there's really a lot going on here. For instance you have a sound of the phone interference incorporated into "Askepios" - the story goes that Omar was so annoyed that people keep forgetting to turn off their phones before entering the studio, that he decided to keep it in the recording.
The band said they used to write labyrinth-like songs in the past (in contrast to what they are doing now) and I'd say that in the context of this album and what they did earlier Ouroborous is a very simple one. As you said, you have AB-ABC-BC-DC. If you treat A and B as a whole, you basically get a classic rock-song structure. The way I see it musically is that you have a huge contrast between AB and C, they represent two sides of the spectrum with one being fast, hectic and loud, and the other slow and more focused on melody and harmony (volta-style). Then they make them come closer together: C is played with full arrangement and louder at the end, while latino-syncopated style of AB part is replaced with punctuated part D - slower, but bringing back a bit of that initial energy. In that way it musically somehow eats its own tail, at least this is how I see it.
Also the C part ("Of all the warnings that you gave me...") comes back 4 times. Although the song doesn't start with it, constant repeats give it a little bit of circular character, almost as in rondo.
Another thing I noticed is that the characteristic, djent-y rhythm that starts right after 4:30 mark is very similar to the one played in one of the previous tracks - Cavalettas. I don't have an idea what does it mean, but at least in the wider context of the album it doesn't come out of nowhere.
One last thought - you said that you know that sometimes it's better to watch a movie more than once to really appreciate it. Maybe you should do an experiment and do a reaction to a second or third listen of one of their songs, so you actually give them a proper chance ;)
Personally I don't think you would like it anyway - I mean: you seem to be quite biased at this point and tbh I can't blame you (especially with probably not the easiest song choices you had to face). But then I hear you saying that something is disjointed because you just don't seem like the contrast or sudden changes (even though you know perfectly well they will happen in TMV's music), or you feel that consecutive part of the song don't have anything in common (even if they do, but to see that in one listen is hard when the devil's in the detail such as rhythm or harmonic composition). And that's just frustrating, because what's the point of doing this over and over again if your first reaction is usually being overwhelmed and annoyed. And don't get me wrong - I'm not trying to attack or blame you, I am quite sure that this is mostly about the limitations of the form of reaction you practice and that's not your fault that sometimes it works better or worse depending on the kind of music you listen to. I wouldn't be watching (and writing essays in the comments) if I didn't like what you're doing in general ;)
To be fair, I'm not trying to get him to like it, it's really more that I'm just trying to get a better understanding of the band. I never really thought about my music much until I came across his channel, so it's nice having someone provide an outside perspective on it, especially a more critical one.
man was i hooked, seeing u again covering a tmv track. a track that has some kinda high rank in my musicial gusto hierarchy. again u deliver with trying to go as deep into it as u can go after hearing it the first time. always interesting to follow and reflecting alongside. something i never did the last 16 years knowing the track, having heard it like, i guess, many hundreds of times.
my approach to music is always for use of emotional and inspirational reasons. and for me the richness of contrasts in the song in matters of pace, loudness, aggression, variations, density and lots of other things in that compact form is a joyful experience every time it enters my ears again.
i studied music back then and checked out soon after, as i understood that it could decrypt my love to music in general and i didnt want to loose that. i am much older now and its sad i dont have all the knowledge i could have^^. the good thing is: i am still in love with songs like that. and i am in love with their kind of creativity.
Musical knowledge, like most knowledge, is a blessing and a curse. It's like learning a magic trick, some of the wonder is lost in exchange for information. But knowing all of the inner workings of a craft can also build a new type of appreciation for the work and dedication that goes into it too. Ultimately I think it's about walking the line down the middle, knowing enough to appreciate all of the nuances while keeping an open mind and finding joy in the simple stuff.
@@acomamind I have to disagree with this take. Omar is one of the most intelligent and knowledgeable musicians in all of Rock music. He knows exactly what he's doing. I suppose you could compare it to abstract art or avant garde. No one says "Picasso was a shit painter who didn't know what he was doing".
@@CriticalReactions true true. the balance is crucial in the end but its also possible to start at one extrem and then progress towards the middle. it can cause problems, like sticking to the manual to much or not being able to let loose or on the other side having troubles with structurally working on tracks limboing 'round to much in the emotional chaos.
if u already begin from the middle u may lack of the advantages of the extremes ,which would be like missing to know the highest heights of emotional creation ,with giving up most of ur concioussness to let music run freely out and watching it mixing together with the muscians around u or ,from handcraft perspective, getting satisfaction from reaching close to what is technically possible in skill but also in organization.
all in all, every path can be enough to find entire happiness in ones self-realization.
i agree when saying, music that lasts presumingly ever needs the creator to be somewhat in the middle, as cultural 'producs' from the extrems are maybe just enough for demonstration purposes, cause its hard to rely with when ur not totally into that.
While this comment is getting way to long, just one last thing said:
for me, music with a certain lack of handcraft/professionality/structure still can work way better than such with too few of a bonding emotional component to notice.
@@alibabaschultz352 hm. ur right with everything u've said. i just dont get the line of mine, where i put out something else. honestly, i dont know^^. i am kinda aware bout his style of working and have consumed some stuff from jam sessions, his soloalbums, side projects... he is maybe the most respected musician of mine. but what did u mean? tell, please if still nessessary...
Holy shit he’s back LOL I’m excited to see this one
Mars Volta being Mars Volta.
Seeing Bryan so puzzled every time by the Mars Volta is so bewildering and amazing to me. They're his natural counter. 😂
Totally agree. They do a lot of stuff that I like and package it in a soundscape that I'm generally not a fan of and that tension pulls at me, every single time.
This is definitely my favorite record of theirs, but I do love the first half of the record more. To me some of it sounds like classic old Santana on crack and acid. Thomas Pridgen’s drumming on this album is one of my favorite drum albums.
just got back from watching the Cedric and Omar documentary at the Texas Theater (where Oswald was caught after assassinating JFK)...a lot of words to say it was really really good. any fans should check it out for sure.
also early reaction in at 5:06...i interpret this section as the Chorus but we can agree to disagree haha...
Yes a full album analysis would be a better perspective for this band
I can't say I enjoy the random slow sections - same as you - but I think I loved the driving sections enough that I still love it overall. They're usually a miss for me but this one's an exception
Cedric in a Narduar interview said “our run-on sentences we call songs”
The reason why you hate them is the reason why I love them.
This whole album is worth reviewing, it's their peak.
yeah as you said at the beginning, every song is different and every album doesnt sound the same as the last. This one is very frantic and everysong hitting all possible frequencies your ear can hear lol. Not my favorite but it's cool trying to see you make sense of the craziness of the songs. Their whole discography shifts from "normal" to crazy experimental up until their most recent album. I dont know why anyone hasnt recommended deloused in the comatorium yet, imo their best and most coherent work
Bryan reacted to three songs from De-Loused already: Intertiatic ESP, Drunkship of Lanterns and Eriatarka.
While I love a lot of this album, this is also the album where the to me it sounded like TMV started to lose a bit of the identity and cohesion of their previous albums. Cohesion is a funny word to use when it comes to TMV since their music on the surface can sound very discordant, but there was a shift on this one that was noticeable, that sounded like they were starting to lose their shared direction in music.
A further sixty-seven listens and you'll see the deeper metaphive
That's how i feel about this album as a whole, as well as amputecture. There's sections that I really like, but there's some that feel out of place. The structures of many songs on this album seem odd.
The biggest example to me is Cavalettas. If parts were rearranged, and the momentum felt more consistent, I would listen to more of these songs on their own.
See if you can find
Thom Yorke Everything, Auckland, 25th October 2024
please react to this whole album pleaseeeee
I love Pridgen's drumming. I think he's why I love this album so much.
I wish I could like TMV more but I can't get into their lyrics, as they seem quite nonsensical to me.
likewise in love with the drums here too. as a non-native it would be work, to understand the lyrics and i know i miss alot not doing so. but i also know that i evade the problem of urs by that^^ so i only translate songs if they really make me to, even if they could destroy my love to a song, if they are underwhelming in a certain way. i have this song on my old but still often used mp3-player and i never ever tried to understand the meaning. i created my own use for the song emotionally and what it means to me. and for that it works pretty well i guess..
@@acomamind Oh yes! That's good to hear! If it speaks to you, in that way, that is great!
Art is subjective, so the meaning you give to the song is the right meaning. :)
@@piscesfreak1 but if u like the drums ur maybe interested in deantoni parks appearence on their 2012 album 'noctourniquet'. in some parts i am leaving the rest aside and only focus on the drums cause they are so furiously and crazy offbeat - and i am normally a melody/athmosphere guy... but yea. there are lyrics too^^ and thx for ur words. u have the spirit
The non-sensical lyrics are part of what makes the band work for me. I love music that can be approached as a puzzle rather than something straight forward.
The album has 12 tracks.
You need to react to Cavalettas from the same album. I guarantee you will hate it which will make it a great reaction.
I think this is one of at least 4 songs on the album that lose most of their context outside of the album line-up. This album is more of a continuous piece of art, rather than a collection of disparate works
As a huge Volta fan this is definitely not a song I'd recommend haha
I think your apprehension with The Mars Volta comes from the simple fact that The Mars Volta writes albums, not songs. The big exception to that is the most recent album.
One of these days I'll sit down and check out a full album.
critical, do not review anything from this album (bedlam in goliath). there's loads of problems they had.
their initial tapes got stolen by one of the managers and destroyed the tapes. Then their studio flooded and lost more of the recordings, they had to piece everything together and rush the final bits. This album was a complete mess. The drumming was great but it did make it more of a prog metal album. The drummer really shines on their next album (which is even worse than this album). Noctourniquet was a very good album though which came out after octahedron.
The only song I liked from this album was Ilyena. EDIT: Cavelattas is decent.
Lol stick to pop. Its hard to disagree with the comments as those are the themes that are best appreciated by the fans. Its just different strokes for different folks situation.
aww too bad. this is one of their worst. the song is just a pretext to the new drummer showing off. boring. the song structure is very weak. the chorus is a pain, and it is repreated many times... you'd enjoy so much more the Agadez track... best one off the album
24:59 you don't get it, go back to black metal 🙄
For me personally, this is one of my least favorite albums from them. For me, this is their "metal album". Everything is cranked up to eleven production wise, but also musically. The drums are constant. The riffs are constant. Every instrument is EQed to the max.
Go back to listening to Katy Perry man
This dude is always so filtered by TMV. Talking about lack of cohesion this and composition that, but never just listening to the musicianship, guitar riffs, basslines, drum fills, etc. Badass is badass, stop trying to pseudo-intellectualize things (even if that is your whole schtick).
He's not trying to psuedo-intellectualize, he's trying to understand the intent of the artist based off a one-off listening of a single track. He appreciates the musicianship, he's just trying to figure out how the creative choices fit the story the artist is trying to tell, which in the case of the Mars Volta isn't exactly straightforward.
As drosera said, their musicianship is solid but what does it mean? Why make the choices that they do? It would be like a painting with a hyper detailed, realistic human drawing surrounded by childish crayon drawing and scribbles that happened to have gorgeous color composition and choice. I appreciate the skill but I'd be confused about the purpose. And I don't think that's necessarily a bad thing. Good art is supposed to challenge us, after all.
@@CriticalReactionsWe want to talk about purpose? God damn platypus! Echidnas, have four penis heads! Purpose is elusive af at the best of times. There are things in nature whether it's The Mars Volta or Hyenas phallic Vaginas that are outliers. Even trend setters. ;) Echidnas, check those dirty guys out.