Welcome to a world of extreme hair, ambient noise, 30 minute "suites," dying friends, and bizarre lyrics inspired by mysterious journals. Welcome to the world of The Mars Volta. It is hard to write a review on this incredibly talented band that does not rehash what you have likely read countless times before: Cedric Bixler-Zavala and Omar Rodriguez-Lopez dissolve beloved El Paso, Texas post-punk band At the Drive-In and form a much more experimental band that seems to be influenced heavily by prog-rockers like Yes, Can, and the Mahavishnu Orchestra. The Mars Volta release their debut album De-Loused in the Comatorium in 2003 to critical acclaim. The Mars Volta tour the world and garner a huge fan base by blowing the minds of music fans like yours truly with their captivating and dizzying live show.
Fast forward to 2005 and the release of the highly anticipated Frances the Mute, an album so bizarre that it took yours truly many listens to wrap his head around the album enough to write the review you are reading now. Frances the Mute is a 77 minute monster of an album that band visionary and lead guitarist Omar Rodriguez-Lopez initially envisioned to be released as one track. Apparently, their record label axed this idea, and what we the listener is left with are five "suites" split over twelve tracks. If you are a fan of typical song structures and have a short attention span, leave this album alone. Long stretches of "ambient noises" take up probably a quarter of the album, which have led to many complaints. Frances the Mute seems to have split the critical community in half, with some calling it pretentious garbage and some calling it a work of genius. I tend to fall in the camp with the latter half. The first time I listened to the album in its entirety, I commented to my friend that Frances the Mute is not an "album" in the traditional sense; rather it is an "experience."
One commentary I read on the album said that Frances is made "more perfect by its moments of failure." Yes, the four minutes of chirping bird noises at the beginning of "Miranda That Ghost Just Isn't Holy Anymore" can be a bit frustrating; however, it makes the absolutely mind-blowing peaks of this album stand out all the more. It is almost as if the band knew that the listener would need a bit of a respite after the unbelievable displays of instrumentation on songs like "L'Via L'Viaquez."
When I am asked to describe The Mars Volta, the closest description I can come up with is to take equal parts Santana, Yes, and Pink Floyd and blend them together. Then add just a dash of Fugazi-esque punk influence and you'll come close, but not too close. While I don't believe this description is too far off, Frances the Mute is an album that needs to be heard and talked about in the music community. I read a recent interview with the band, and they said that the public release of an album is its "death," due to all the critical analysis of it taking the enjoyment out of the listen. While I understand their sentiments, Frances is an album that demands discussion. Parts of Frances the Mute will leave you singing along. Parts will leave you annoyed and impatient. Parts will leave you in awe of their unrivaled talent. But trust me, when the refrain of the final thirty-minute suite kicks back in and Cedric howls, "There is no light/in the darkest of your furthest reaches/there is no light," it will make you want to stand up and cheer. Frances the Mute is not for everyone, but those who take the time to uncover its many layers will be rewarded with a thrilling listen.
3.5/4
Other coverage for this album
Decapolis March 2005Reviewed by Peter VenessFirst, a minor piece of housekeeping: while there are 12 tracks on Frances The Mute, this work should be treated in five separate yet connected parts made of 15 movements, as the band suggests with their chapter and verse tracklisting. Now, onward we go. The core of The Mars Volta, Omar Rodriguez-Lopez and Cedric Bixler-Zavala, carry preternatural technical abilities, which are on display from…The Phantom Tollbooth 2005Reviewed by Leslie BogarFans of The Mars Volta may be expecting this sophomore CD to be somewhat like De-loused In the Comatorium. Don't go there. With the unveiling of Francis the Mute, The Mars Volta has shown its chameleon-like ability to change from one style to the next without blinking an eye. Die hard fans will appreciate the change and stick around for the ride, while those that liked the style of the first CD…Similar sounding releases
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