The Mars Volta - The Bedlam in Goliath
The Mars Volta’s fourth studio album, The Bedlam in Goliath is the most aggressive album by the band, which makes it unavoidable to think back on At The Drive-In on several instances. After Amputechture, The Mars Volta has decided to return to creating concept albums. This Ouija board inspired album begins with “Abernikula,” which starts as an explosion of sound, which I am not very fond of, but The Mars Volta refuses to beat around the bush and sends us, the listener, straight into the substance of the song and forces us to unavoidable delve into their sound. This is followed by “Metatron,” which I consider one of Cedric Bixler-Zavala’s strongest vocal performances throughout his entire career. The album then continues with three of the catchiest songs by The Mars Volta. After listening to “Ilyena” I could not get it out of my head, and I even heard my roommate humming it after a while. “Wax Simulacra” is their catchy single, when one can appreciate Thomas Pridgen’s amazing drumming abilities, demonstrating that he truly is a very strong addition to The Mars Volta’s lineup. “Goliath” once again is a song that make The Mars Volta the catchiest and most addicting they have ever been. This is then followed by the album’s slow song “Tourniquet Man,” which in my opinion provides the transition from catchier songs, to the more experimental side of The Mars Volta. The rest of the tracks has the more experimental tendencies of The Mars Volta, still creating good songs overall. “Conjugal Burns” is an energetic closing for the album, ending it with Thomas Pridgen’s amazing skills.
The Mars Volta may not be great at creating music that the masses demand, however, I will dare go as far as to say that they may be one of the most talented band at this time. They have talent like no other. Every band member is extremely talented at their instrument. However, this tends to create a problem with The Mars Volta, for they sometimes become self-indulgent in their own sound, where they look like they are more concerned with displaying their talents instead of creating a song through their collaboration. The Bedlam in Goliath, is an amazing and solid album. I would not go as far as to say that that it’s better than Deloused In The Comatorium or Frances The Mute, but it is definitely an album I would dedicate to any true music lover who can appreciate talent when they hear it. It now leaves us wondering where The Mars Volta’s music will go next, and leaves us with the anticipation of another album that will once again be a relief to our ears from radio pop songs or coffee shop indie music.
Reviewer: Enrique Lemus
