8 Songs, 50 Minutes

EDITORS’ NOTES

The Mars Volta has steadily built steam since debuting in 2003. The title of its fifth studio album, Octahedron, refers to an eight-sided geometric shape and the full-length features eight epic tracks that characteristically hold unexpected twists, turns, and tempo shifts. As usual, Omar Rodriguez-Lopez is credited with writing the music, Cedric Bixler Zavala is responsible for the lyrics and vocals, and a host of members comprise the larger band (including John Frusciante of Red Hot Chili Peppers). About five minutes into the gradually evolving opener, “Since We’ve Been Wrong”, snare-heavy drums join the fold and then pick up the pace on “Teflon”, where reverb-drenched guitars kick in and Zavala’s slightly sinister vocals deliver wounded, seething sentiments. Following a funky, head-bang-inducing “Cotopaxi”, the “Copernicus” ballad walks down a seven-minute path where listeners briefly encounter electronica-esque instrumentation. The theatrical cauldron continues to fester until concluding with “Luciforms” — with Zavala sounding as vengeful as ever throughout the apocalyptic journey.

EDITORS’ NOTES

The Mars Volta has steadily built steam since debuting in 2003. The title of its fifth studio album, Octahedron, refers to an eight-sided geometric shape and the full-length features eight epic tracks that characteristically hold unexpected twists, turns, and tempo shifts. As usual, Omar Rodriguez-Lopez is credited with writing the music, Cedric Bixler Zavala is responsible for the lyrics and vocals, and a host of members comprise the larger band (including John Frusciante of Red Hot Chili Peppers). About five minutes into the gradually evolving opener, “Since We’ve Been Wrong”, snare-heavy drums join the fold and then pick up the pace on “Teflon”, where reverb-drenched guitars kick in and Zavala’s slightly sinister vocals deliver wounded, seething sentiments. Following a funky, head-bang-inducing “Cotopaxi”, the “Copernicus” ballad walks down a seven-minute path where listeners briefly encounter electronica-esque instrumentation. The theatrical cauldron continues to fester until concluding with “Luciforms” — with Zavala sounding as vengeful as ever throughout the apocalyptic journey.

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