Hahahhahha, yes! YES! The pretentiousness is very much the point here, and I _love_ it. Singing absolute nonsense with such earnest conviction - fantastic! (Although it's made me realize that Neutral Milk Hotel's "In the Aeroplane Over the Sea", another fine example of heartfelt gibberish, isn't on this list, which feels like quite the omission!) I'll take this album over anything At The Drive-In did. It's also my fave Mars Volta album, by quite a stretch... Fave track - the whole thing, really, but "Roulette Dares (The Haunt of)", "Eriatarka", "Televators" and "Take the Veil Cerpin Taxt" are the stand outs...
With its frenzied musicians and vital Latin influence, Deloused in the Comatorium's turn-of-the-century prog rock rips pretty thoroughly, but the lyricism is so indulgent—even for the genre—that it often distracts. There's a fine line between "you just don't get it" and "I just don't care," and the penmanship here is firmly in the latter. You made a concept album, and the concept is "drugs are neat," you don't have to try so damn hard to get the job done. That said, once you push past the Aesop Rock of it all, the more aggressive tracks hit quite hard, and the talent the group has is undeniable. I just wish the songwriters were the only ones that calmed down over the course of its excessive runtime. Key Tracks: Inertiatic ESP, Drunkship of Lanterns, Cicatriz ESP
Possibly the best prog-rock album from this century. Expect to find music that is written for the sake of music, that breaks boundaries, that forces the listener to think and experience concepts outside of the easy boundaries of culture and social norms that are forced on us by the media. Of course, like any good prog-rock project, "De-Loused in the Comatorium" is a conceptual album. The main character Cerpin Taxt, who is based on a real person that the band knew, falls into a coma due to self-abusive behavior. While in a coma, Taxt experiences a (possibly) hallucinigenic journey through a landscape of his own decay. The intellectually poetic lyrics make references to medical terminology, ghosts, public transportation, isolation, confusion, philosophical figures, and (self) deception. Sonically, the Mars Volta recalls the best of progressive's past and present. Like some idiot-savant with Turret's Syndrome, they seem to embody both effortlessly. It is difficult to point to one musician in the group that is not necessary for the overall sound. Every player in the group deserves mention. Guitarist Omar Rodriguez-Lopez plays with an measured angularity that recalls Robert Fripp's late '60's/early 70's work but with the passsion of a young Carlos Santana. Cedric Bixler-Zavala sings like a young Geddy Lee being possessed by the passionate spirit of Tool's Maynard. Drummer Jon Theodore recalls the aggressive technical chops of Neil Peart, but with the instinctive recklessnes of Keith Moon. Using classic hammond/mellotron/fender-rhodes piano sounds, keyboardist Isaiah Owens recalls the necesssarily transparent playing of Billy Preston. Then there's Flea standing in on bass, and holding on for dear life. He seems actually quite challenged in this project, so much so that he never really gets the chance to "Flea out". He just plays some fantastically solid and distinctive bass, which is great to hear from him, especially in this context. How does one reconcile the gap between punk and prog? Take the in-your-face aggression of punk and put it side-by-side with darkly beautiful ballads, compelling soundscapes, metrically complex and angular riffs, and freely open jams. The lowdown: Simultaneously being a music lover and cynic, I am usually hard-pressed to easily accept new music by a band I don't know much about. I am used to the few listens it takes for me to decide what I really think about a project. The Mars Volta convinced me immediately, and is still convincing after several months of heavy rotation and an extremely memorable live experience, which is beyond the scope of this review to recount.
🤘. Lyrics are basically incoherent but the music is amazing.
girl wtf is this cover?????? whats up with that child???? i don't think this is English I haven't heard of an album so all-over-the-place. cohesiveness who?
If Rush, Santana, and MCR adopted a baby together, this is the monster they would raise. I love it. These guys have been on my radar for a while and I see why they are always spoken among the greats of modern prog.
Genre: Progressive Rock 5/5 A debut album from a band I was familiar with by name only, from a genre I’ve grown quite fond of since I was young, and good grief this thing was an instant love for me. I had initially been apprehensive, having read that the vocals were hit-or-miss and the music itself could prove too dense for some. But, man, I was absolutely floored. And also to the harsher critics out there, there is WAY more progressive shit that you would absolutely HATE. This is almost easy listening. In the same way you can hear Radiohead’s OK Computer write the careers of their contemporaries (Coldplay, Muse, etc.), De-Loused in the Comatorium (ugly name and ugly album cover aside, lol) is proto-screamo in the best way, and Attack, Attack, Of Monsters and Men, and Coheed and Cambria (among others), owe a huge debt to this project. Technical, talented playing, Rick Rubin’s essential wall-of-sound production, vocals that ascend to the heavens in nearly every track, and relentless pacing, this album seemingly helped forge the path for where rock would go over the coming years. Really impressed, absolutely loved this. If you like rock music, this is for you. Sending Drunkship of Lanterns to my dad right now.
The pinnacle of modern prog rock. Move over, Rush. Step aside, King Crimson. We've got an eccentric Mexican with a fantastic falsetto, a savant Puerto Rican with a knack for a guitar, and a band who can keep pace with the two. There are segments on this album that will blow you away, just raw compositional goodness. There's solid dynamics too, with The Mars Volta knowing when to go full tilt and when to be more reserved. These allow for truly memorable moments such as in Eriatarka where the songs builds itself to the choruses. There are parts that are a little overly long, though, and could use some sparing in order to keep things moving along, but it can be easily forgiven for how spectacular everything else is. Great great album.
Un album assez difficilement appréciable tant la tête dont il est ici question ne cessera de nous cracher sa lumière à la figure du début à la fin du projet. On en sort totalement ébloui mais surtout très énervé.
This is just a more inscrutable version of Muse.
Unlistenable. I got to the third song, then started FFwd'g and listening to as much of each song as possible to see if I was wrong. Nope. Clearly, didn't add. Also, entire oeuvre is filled with meaningless edgy song titles.
down with this sort of thing
One of my favourite albums of all time 😍 I still remember when I first discovered them at uni and was blown away by such a perfect blend of structure/batshit craziness. Also in my top 5 gigs. So fucking cathartic! Fav new track: N/A, but it's between the transition from Son el Lumiere into Inertiatic Esp and Televators...
Got this one on CD. Perfect album as far as I'm concerned.
-This album is pretty sweet. The guitar is shredding and the drums are awesome throughout the whole album. Definitely need to do more listening
Masterful production, technical, visceral, cohesive. Takes a few listens to fully grasp, but once you're hooked and listening between the lines and notes, it's a masterpiece.
Panic Attack Simulator, the album. This cathartic combination of Prog and Punk creates a record that, while alienating for sure, I find to be an extremely rewarding listen. Favorites: "Roulette Dares", "Eriatarka", "Cicatriz Esp", "Take The Veil Cerpin Taxt"
It ain't At the Drive-In, but I've always loved this band. Proggy, punk-ish, pretentious; they cover the three P's in spades on this one. I hadn't listened to this in forever. I like all the weird horns and shit they got into on the record that followed, but it was nice to hear this one again. Definitely more focused than most of their discography, for better or worse. Anyway, I remember that reading Pitchfork was pretty much a daily must for me back in the early 2000s. And then they just completely eviscerated the 2nd Mars Volta record, if memory serves. Just an absolutely brutal review and it occurred to me at that point that I didn't need to read Pitchfork any more.
My brother got this on CD when it came out. I must have been 12 or 13 at the time and always listened to all of his CDs. I didn't get this one. It seemed sort of weird and then I never listened to it again. Seeing the album here made me think "Oh yeah, there was an album like this! I heard it. Some strange alternative rock or something like that." Listening to it yesterday and giving it a second spin today, I've been loving every moment of this album. Progressive rock and alternativ rock get together for a twist that still sounds fresh and original almost 20 years later. I can't claim that the lyrics seem much more than associative stream of consciousness, but that's OK. As is not uncommon in alternative rock, the vocals are frequently off-key and sound whiny at times. I'm not the biggest fan of this style of singing, but here it fits quite well. The bigger draw, for me, is the undeniable instrumental virtuosity on this album and the elaborate and unpredictable structuring of the tracks. This one really caught me by surprise but I will be sure to revisit it and check out the other Mars Volta albums as well. Favorite tracks were the two Esp songs.
Way ahead of it's time.
One of the best albums in my lifetime. Every song is a masterpiece
this is so 00s. I was a teenager in the 00s and I didn't like the mars volta, but now listening to their first album, I see it was consistent with the type of music that was being done in the 2000s. It feels nostalgic to listen to it in the 2020s.
even at its least comprehensible, i get why people like this album so much. probably would have been huge to my teenage self.
Bruh, je reconnaissance seulement le groupe de nom. Mon dieu que je me suis prit une claque dans la face à matin! Je sais pas trop comment décrire le style, un genre de radiohead moins depressif pis plus jazzy/prog. Bref, je kiff
O álbum começa super animado e vai ficando mais psicodélico pro final, mantendo o virtuosismo. Deu vontade de casar com esse álbum kkkk
I was really surprised how much I liked this, even with a minor headache at the time. Don't think there was a track I didn't like. Inertiatic Esp was my favourite of the bunch. I must say the drumming and guitars are all top notch, made me air play those instruments in the car. The vocalist is really great and I particularly like how some of the songs are interrupted by the sound effects. Gives the intensity a nice break.
One of my alltime favorite albums. Such an intense blend of post-punk, prog metal, jazz, synthy stuff. One of a kind. Also big words that may or may not mean anything. Favorite Tracks: Televators, Cicatriz ESP, Son et Lumiere/Inertiatic ESP
Really love this album. I understand why people complain about the wailing, it is pretty intense, but I love it. It's funny to hear people call them pretentious. Isn't ratting someone's art with your anonymous internet opinion a tad on the pretentious side? Either way this album screams. Songs are interesting and engaging. Peaks and valleys. Light and dark. Enjoy with an open mind.
One of those albums that just explodes your head the first time you hear it. Unlike anything else. Unbelievable talent on display and killer, weird tunes.
Like a Texan Biffy Clyro - which is intented as a massive compliment! I loved At The Drive-in, but hadn't listened to much of The Mars Volta before - I am now regretting that. Added all their albums to my list off the back of this one. Loved every second of it, wish I could give it 6 (or 7) stars!
Classic! I bought this album the when it came out on a whim cause I thought the cover was cool .
Aha, I know this one. This is one of those pure gems of an album that always gives you something new every time you listen to it. The concept is dense, the music spans from metal to prog to Latin-inspired to jazz and everywhere in between, the performances are unreal, and it basically just goes hard as fuck for 70 minutes straight. I love this album
One of my favorite albums. Glad they re-pressed it
God, I love this album, I could listen to it every day.
Aż musiałem przeskoczyć żeby odsłuchać (nie pierwszy raz). Kocham ten album całym serduszkiem, na liście moich albumów 10/10 zdecydowanie ma swoje miejsce. Bardzo ciekawy głos, drastyczny acz pasjonujący koncept, szalone koncepcje liryczne, wszystko tu jest niesamowicie tripowe i wciągające. Brzmi kosmicznie - i to nie w stylu "tania space opera", tylko naprawdę niepokojąco obco. No i widać duże umiejętności techniczne artystów. Nawet nie wypada mówić tu, jaki utwór jest highlightem - tego albumu się słucha całego lub w ogóle.
I was sceptical before and throughout, but after all I enjoyed the album.
Favs: Inertiatic Esp; Roulette Dares; Eriatarka Mehs: Son et Lumiere "Speculative fiction telling the first-person story of someone in a drug-induced coma, battling the evil side of his mind!" That's for me! With Mars Volta songs, I either really love an individual song or would skip a song each time. On songs like Inertiatic Esp, you get some really seriously great Rush-like, Muse-like, dash-of-King-Crimson prog-rock.
Another band i had misconceptions of. Top quality rock. The 1w minute track in the middle i appreciated without enjoying, so it drops a star for that.
A little draining at times due to sheer pitch, but overall fun and enjoyable. I could probably return to this, but it doesn't have anything dragging me back, which puts squarely in the 4.
This album still rocks. Still missing a lot of the imagery references used, but it’s still a beautiful album.
something to listen to if you like broken bells and wished they yelled more
My ears hurt from how hard this is going! Fav song: Eriatarka
Emo flavored prog rock - as the genre might suggest, it is a very pretentious album! However, it's so unself-conscious about it that it circles back around to being delightful in the same way that an all-out campy halloween display is delightful. I'm charmed. Don't get too distracted by the nonsensical lyrics because each instrumentalist is impressive and essential in their own right. Favorite track - Cicatriz Esp, Televators
Their heads barely out of the ashes of At The Drive-In, Omar Rodriguez López and Cedric Bixler-Zavala did not waste any time to rebound by forming The Mars Volta, sprinkling seventies psychedelia, latin rhythm inflexions and Zappaesque circumvolutions in their already charged post-hardcore formula. *Deloused In the Comatorium* is the result of this quick mutation, and akin to a phoenix rising over its former shell's self-implosion, the new band does a very fine job setting up high expectations for what was to come. Standout tracks "Inertiatic Esp", "The Roulette Dares (The Haunt Of) and "This Apparatus Must Be Unearthed" are especially convincing, flaunting a technical prowess that is in service of songs sporting roaring choruses like so many badges of honor. None of the digressions in those tracks are unnecessary, and the overall production is neat and on-point, displaying very clear and panoramic vistas of the multi-layered mess so as to help the listener make sense of it. Bixler-Zavala's lyrics are cryptic as ever, digging the exact same surreal trench as the one he had dug as the At The Drive-In frontman, and his crystal-clear, energetic vocals are reaching new heights, even though he never forgets to also bring emotion and subtle nuance when needed. It's a little unfortunate, however, that the Mars Volta could not apply the same self-editing principles and direly needed restraint for a bunch of tracks across the middle of the record. See for instance "Eriatarka" and "Cicatriz Esp", where mastermind Rodriguez López desperately--and often vainly--tries to reach a full-on psychedelic scope the band would only really attain for their second LP, the criminally underestimated *Frances The Mute* (which is probably the best homage to seventies prog-rock madness ever penned this side of the 21st century, and a piece of work far more sweeping and ambitious than their first effort). In comparison to its successor, some of the tracks in *Deloused In The Comatorium* are either too short or too long, or maybe even *both*, oddly enough--too short for the ambient meandering interludes inside them to really stick and go somewhere--and too long for the *exact same reason*, mainly that those aimless interludes should have probably been better left off on the cutting room floor so as to give a little muscle to the overall songs If *Frances The Mute* avoided those pitfalls by giving its most experimental moments much-needed conceptual and atmospheric points, such miracles only too rarely happened in the rest of the band's career. After their second album, The Mars Volta even quickly got lost into their own free-jazz proclivities (read "ass"), spawning a handful of albums that did not add anything genuinely meaningful to the initial formula. And when that string of records ended, Rodriguez López and Bixler-Zaval even resorted to a reformation of At The Drive-In which turned out to be a half-baked stylistic avowal of defeat instead of the glorious reunion everyone had hoped for. Heroes fall hard sometimes. In *Deloused In The Comatorium*, the phoenix was still on the rise at least. [Number of albums left to review or just listen to: 995 Number of albums from the list I find relevant enough to be mandatory listens: 0 Albums from the list I *might* include in mine later on: 3 (including this one) Albums from the list I will certainly *not* include in mine (as I think many others are more important): 3 ]
Este disco no lo oía completo desde que era nuevo y en aquel entonces no fue totalmente de mi agrado, pero ahora que le di sus tres o cuatro vueltas seguidas me sorprendió que se va como agua. Las canciones entre ellas tienen mucha cohesión e incluso esos interludios de efectos de sonido son una parte excelente del disco que no se vuelve aburrido en ningún momento con excelentes músicos y una voz que, aunque es chillona, cuadra perfecto con todo lo demás. Si existe un detalle que no me gusta, es que de pronto Cedric canta en un español pronunciado con las nalgas, que alguien (un pariente que en serio hable el idioma) debió haberle corregido.
Años de no escuchar este disco, oda al atasque. Aún así, tiene momentos muy atmosféricos aunque discordantes por lo que no es un disco fácil de escuchar completo. Tocan brutalmente, las letras son indescifrables. Está pesado pero es muy bueno. Es muy bueno pero está pesado. Songs: Televators, Inertiatic Esp, This Apparatus Must Be Unearthed
Was into this band quite a bit back in the day but kinda fell off after the third album. This one still mostly rips though
Интро отдаёт криповым вайбом, если весь альбом будет таким - я буду знатно рад. уже не отдаёт..... но переход был крутой, да и трек его бодрость не портит. Мне уже нравится альбом, он дико разъёбывающий и бодрость и агрессив из него прям прёт! При прослушивании этого альбома я вижу какую то погоню в лесу. Альбом прям бодрячок, вот прям бодрый бодрячок. Окей, как минимум переходы звучат крипово... и даже индустриально, но это скорее всего я просто еблан. This Apparatus Must Be Unearthed - пока что мой любимый трек. Прекрасная работа. 8/10.
A neoprog classic. Frantic guitar riffs and drumming are littered throughout this one, all setting a stage for the electrifying vocal performance. Mars volta really caught lightning in a bottle on this album - it's progressive but not indulgent or plodding. Technical without being wanky. A lot of sonic and tonal shifts and inventive songwriting.
The year 2003 was a great year for post hardcore. It saw the rise of emo and its nerdier sibling, prog-emo. Spearheaded by bands like Circa Survive and Coheed & Cambria, prog-emo was almost antithetical to its punk rock roots, epically long tracks, experimental musical soundscapes and grandiose concepts, all filtered through power chords, acrobatic vocals and a one-two gut punch. Glorious. The Mars Volta were another band that were a fixture to this subgenre, and Deloused in the Comatorium cemented their place in the pantheon of unsung heroes of this oft overlooked subgenre of 2000s punk/emo. From the way opening track Son et Lumiere begins, with the hypnotically frantic guitar tapping and urgent vocals, leading into Inertiatic Esp, you know you're in for a dynamic ride, with heavy hitters interspersed with post-rockesque interludes like Tira Me a Las Aranas and Televators. The rest of the album is an hour long journey of spazzy-yet-precise drums, textural keyboards, and guitar styles that run the gamut of angular stabs, echo-y strums, to melodically dissonant lines. What allows this album to stay rooted in its punk roots is the fact that each of the instruments, virtuosic as they are, serves the song, and that, to this writer, is what warrants multiple listens of this album. Truly a masterclass in the balance of technique, experimentation and all out emotion.
The most insane prog rock album since the 70s. Fast and loud with a vocalist that reminds me of Tool's Keenan's vocal style, they utilize such a dynamic and atmospheric use of sound that keeps you on your toes for every minute. You could hear the prog influences all over, King Crimson prominently in "Roulette Dares," while "Drunkship of Lanterns" shows characteristics of Yes, Pink Floyd, and contemporary math rock. It's very modern... not only is it well-polished, but it uses state-of-the-art production techniques I recall hearing in prog metal and post-rock of the era. It's a wild ride from start to finish you couldn't feel bored by... there's so much to like about each track. I'll be revisiting this one often.
Oh post-prog, dammit. So weird that this is only two years after At the Drive-in‘s Relationship of Command. So from the ashes of that band came this band, and just like that was an incredible record and pushed the post Hardcore genre up to another level this album kind of does that too. I feel like I would need to sit down with the lyrics and really give this and attentive listen to find out what is truly going on.
Huh. I actually enjoyed this!
Remember when Chris and Mark became friends over their experience of...um... experiencing this band live?
Weird but superb, a couple of spine tingling moments. Who knew that weird guitar jam with latin beats and a lunatic would be so compelling
Need to listen more but enjoyed it a fair bit.
Fuck there's a lot going on here. I dont pick up much on lyrics but the music hooked me after I initially thought "No". But then reading up on the album on Wikipedia I now feel I need to go through the lyrics. Needs a full re-listen again
Love this album! I have no idea what any of the lyrics are about and the song titles make no sense. I could listen to this album over and over again. Tangent: I had about a 2 year period between the start of my last semester of college before I met my wife. I was pretty lonely and that's the period of time when I started running. This album came out during that time and I would listen to the MP3's on one of those goofy mp3 players that strapped around your arm all the time. Music from this era always reminds me of that goofy time in my life where I was really lonely, but kind of really found myself through running.
Have you ever met a dumbass sporting an afro? Me either.
Most of the music I enjoyed. There were only a couple of moments where I thought the "new tech sounds" were a bit forced in the music, but overall, enjoyable.
It is an ambitious and creative work, reinventing prog-rock for the post-"rock" generation. (7/10) FT: Inertiatic ESP, Roulette Dares, Televators
Best Song: Inertiac Esp. The true kickoff to the album, this song launches like a rocket and never slows down. Worst Song: Roulette Dares (The Haunt Of). Very atmospheric, but slower than I want from this group. Overall: Chaotic music with a progressive edge, constantly cutting in with fits and starts. Complex enough to always be interesting and nostalgic enough for me that I have a sweet spot for it.
Yea this was best. Before omar started controlling everything
Hi ha una diferència notable entre el rock experimental que tracta d'obrir nous camins fet per ments artístiques i inspirades i el perpetrat per wannabes amb ambicions. Gran part de la tradició, que a les últimes décades s'extén amb bandes com Butthole Surfers als '80, Super Furry Animals als '90 o The Icarus Line als '00, per posar tres exemples distanciats entre sí, es basa en la intenció d'acumular sons i la pretensió d'epatar a l'oient, sense pràcticament res aprofitable en les seves propostes. The Mars Volta és una altra cosa, molt diferent. Rock visionari, amb textures úniques, mutacions de géneres i melodies identificables. Aquest primer disc tras la ruptura de At the Drive-In ja deixa veure tota la màgia que portaven al seu interior, i que gairebé mai va deixar d'assecar-se fins la seva dissolució
Ah fuck, I don't want to listen to modern prog rock today. What frustrates me about this band is that they are clearly talented, and I can hear bits and pieces of what I loved so much about Relationship of Command. However, this band is not that band, and for all of the good elements of this album, it's never going to achieve the raw power of Relationship of Command. On the other hand, this album is a good listen overall. I want it to be something that it is not, but that's on me. The vocals and the instrumentation are very good on this album. It's also less proggy than other stuff I've listened to from Mars Volta. Guess I got to give it 4 stars, especially since listening to this album improved my shitty mood moderately 4/5 4/5
Barasta ansi hressandi og skemmtilegt, hæfilega tilraunakennt og kröfugt. Fjarki, nær fimmu en þristi.
Pretty good stuff at times
I kinda figured I'd be the only one in the group with a positive view of this one. I really dug this album when it first came out, and still mostly do. While I think I prefer At the Drive-In, the previous band from The Mars Volta's driving creative forces, I like "Deloused in the Comatorium" and "Frances the Mute." I totally get why they can be too much though. To many, the vocals are probably polarizing, or just straight-up off-putting. But I don't mind the frantic, high-energy shrieking. The pace shifts are also off-putting to many I believe. Something about time signatures? I kinda know what that means musically, but will probably sound ignorant trying to describe it. The songs quickly accelerate or decelerate, and sometimes devolve into chaotic noise or meandering background sounds. I don't know, but I dig it. And I listened to ATDI's "Relationship of Command" again, and like it even more than "Deloused."
not sure what this is but i like it. Rock, avante guard, shoutness with plinky plunky bits.
Killer album from a very unique band
This is a band I had heard of but knew nothing about. Didn't even know what kind of music they play! Turns out it's kind of a meld between NuMetal and Pop Punk. Aka, it's probably not for everyone but I really enjoyed it. Love the weird song names and the wild long guitar solos.
trippy as hell still, really holds up. those soaring vocals
Альбом интересный, как и прогрок в целом. Какие-то вещи даже King Crimson напомнили.
time has been unkind to this band in a way that it really hasn't for At the Drive-In. insane musicianship that is almost hard to appreciate because the entire thing seems to drip with smugness. this album in particular might be the peak of Cedric's self-gratifying pretentious lyrics. stupid album, amazing musicians.
The music is good but definitely not as good as I remembered, it really rubbed me the wrong way this time. This album oozes pretentiousness in ways I can't explain
Sounds like prog rock
Es ist vor allem eins: abwechslungsreich! Schlägt Haken und Volten (!) wie nur ein wendiger Geist oder System of a Down dies vermag. Oder Fühl mich an eine Emo/Indie Zeit zurück erinnert, für die ich knapp zu alt war, aber immerhin in Ausläufern (The Cooper Temple Clause, Dredg, Juno,…) dann doch mehr als nur ein Ohr offen hatte. Wird hier kein ähnliches Erweckungserlebnis, aber partiell bleibt es haftender als kukident. Meine prall mit bestickerten Notizbüchlein („Eriatarka“ Skizzen!) verseuchte Umhängetasche hängt tiefer als 3.4
A very powerful album intense and deep. Stylistically varied and interesting. Can't possibly absorb it all in one listen but I intend to delve deeply in the coming days 3.5 🌟
I remember liking this record back in the day but I haven't listened to it in years. I'm not a huge fan of the singer's voice - find it a bit grating. There is a lot going on, it's a bit hard to get into. I guess that's prog rock for you - which is typically not my thing. Still, it's definitely an interesting record. Not as good as I remember or maybe I just wasn't in the right mood. Makes sense for it to be on this list.
This was okay. There were some good songs, but they were all so long... If every song was capped at 4 minutes this would be a really good album.
The album has a good flow start to finish. A decent listen if you are in the right mood
Really exceptional album, amazing musicianship and an interesting energetic sound. I'm just not sure it's one I would play all the time. A really nice change of pace though
One to return to. Intriguing, if noisy
The energy and angst and strong here, though they lean a bit too much into the Primus funk/experimental camp for my tastes. Still, we're it is energy without spazz, it is excellent.
Eksperimenterende psykedelisk rock, Imponerende lydunivers, velkomponeret
decent alternative album but doesn't add enough for me to rate it higher
Nice, but it wasn't able to deeply deliver its mood to me.
Didn't like at first, started to like it at the third heard
Rock progresivo raruno. Ni fu ni fa.
3.5, very enjoyable, extremely talented
This is one of the albums that made me pivot in my listening styles. The story telling is awesome and the music always keeps you on your toes. Really good stuff.
This is an absolutely crazy debut album from a band that I've never heard of before (even though it was released during my lifetime unlike most albums on this list). I was skeptical before and during the first set of songs, but the album *slowly* hooked me more and more throughout. It is not something I would want to listen to all of the time, but I can definitely appreciate it for what it is. The album is finely crafted from an instrumental perspective with everyone giving it their all here. If I had to describe it to someone who had never heard of this band before, I would say it is My Chemical Romance if they made experimental rock in the 1970s. The MCR vibes mainly come from the lead singer's vocals which sound nearly identical to Gerard Way's and from the overall emo feeling present on every track. While I enjoyed the vocals for the most part, it was hard for me to understand what he was saying at some points which led me to focus more on the instrumentals. From that perspective, the progressive rock staples are all here which is both a good and bad thing. While this style allows for more freedom and expression through instruments, it also tends to allow for a bloated feeling due to long tangents during songs. For example, Cicatriz Esp's outro last way too long for what it is (incoherent noise with distorted ocean-like noises in the background). This eventually leads to more great guitar and drum work, but it leaves me wondering how much of the album could be trimmed down to make for a more cohesive and focused listen. In short, although I don't think this album fully clicked with me, I still respect it and had a good time listening to it. 3/5. NOTE: I was pleasantly surprised to see that Flea, one of my favorite rock stars of all time, played bass on the majority of this album due to the original bassist leaving the band before the album's recording. This makes complete sense and definitely sounds like him upon further inspection (Drunkship Of Lanterns features some of his craziest work on bass even when including all of the RHCP discography).
Sounds like a mix between Tool and Muse, to me there was some nice things attempted just doesn't hit the mark for me.
Very decent although very samey - the singer has a good voice.
An amalgamation of Led Zepplin, QOSTA, My Chemical Romance and Ricky Martin has produced quite satisfactory results.
I mean, this is high-intensity noodling and the melodies are pretty strong, but it just feels like it goes on forever and I start to tune it out.
This is really interesting. Reminds me of a harder rock version of Yes at times with the sudden, loud staccato outbursts. Definitely worthy of further listens. 3 stars.
I'm singing high. I'm singing low. -this album It's not a bad album but I'm not going to be extolling its virtues on high.
Fine album. Gets boring near the end. The drums are great
Le lundi n'est pas une journée que j'apprécie particulièrement, c'est pourquoi la qualité de mes reviews tent à diminuer en cette journée. En effet, dès mon reveil, j'ouvre le générateur après 3 jours de pause comme chaque semaine. De là, je me retrouve systématiquement noyé sous une multitude de commentaires de mon camarade d'écoute robpellemèle, qui accorde des notes ahurissantes à chaque album que Robert met gentillement à notre disposition. Cet effet s'estompe progressivement au fil de la semaine, d'où le regain en qualité de mes reviews courant mercredi.
This is one of those records that I don't necessarily dislike but I don't completely like either. It manages to get my attention in some parts, but in general I find it overly long and cerebral. I honestly would have preferred to see Relationship In Command by At The Drive-in in here.
Voor mijn gevoel symfonische rock met heel grappige elektronische geluidjes. Ik vind het wel heel leuk klinken. ***
I get it but I don't get the music. I have just never been a fan of speed any style of music. I can definitely hear the influence in latter bands. I am thinking Linkin Park and Evanescence. I could only sample this album. I just don't care to listen to an entire album of this genre. All that being said, they belong on the list and have more talent then some of the other artist chosen for this book.
I'm awake now
Meh. I didn't connect with this at all
Fun prog rock entry to start the week.... Would listen to again
Melodic in parts
It's his voice. I just don't like it. I feel like if be a huge MV fan if it weren't for his voice.
A Beloved Roy album Favorites: Drunkenship of Lanterns Televators
Did not know what to expect and was still surprised. Not my thing but not bad.
It was ok, didn't love it
6/10. Loud, but some bits were pretty interesting
6/10 has not aged terribly well, but has some cool drumming
A pretty good album that I have not heard before. I enjoyed the various genre bending this album provides. Some various levels of prog rock, alternative creates an enjoyable album that feels modern and important for future bands. 6.6/10
I have to be in the right headspace for The Mars Volta. This album seems ambitious and technical. The end result isn't especially listenable, imo.
Yet another prog album brought down by it's singer
I’ll admit; I was going to leave a snarky, one-star review indicating that I didn’t know where my migraine ended and this album began after initial listen, but I read some other reviews and decided to give it a second listen. There are still some tracks that evoke pain, but I’m feeling new things and the second listen-thru. Perhaps a third listen will give me something to chew on. Three stars in optimism for that. Oh, and for Flea.
It’s not boring…
Really slow and melancholy
I know of Mars Volta, gun to my head, can't name a thing of theirs. So when I saw prog rock and concept album was fairly excited. In the end, not something I am going to be rushing back to, interesting, but not Yes or King Crimson...This might have hit me differently if I heard it in my teens but now. not so much.
Yet another band I’d heard of but not heard. A good listen, though I’ll admit my idea of progress sits more on the Yes side of things than this.
Found this more interesting than especially enjoyable or ‘good’ but I liked it
Listened some time ago: recall it as a math rock fused with certain emoish/punkish tendencies as well as more arty/jazzy things. It was alright but hasn't stayed with me.
Feels like pre pop punk goodness -- Chiodos wishes they sounded like this. I'm so happy I got a throwback album out of this.
Mimo wszsytko tekst jest integralną częścią piosenki i nie można go tak po prostu zamienić na losowo brzmiące słowa i dograć do nich trzeba przyznać nie najgorszą nutę. Czasem dobre solo, lub jak w jazzie "rozmowa" instrumetnów może nam zastąpić warstwę liryczną. Z moich przypuszczeń to celowali coś w stylu jak angielska piosenka brzmi dla ludzi niemówiących po angielsku. Podobny feeling mam słuchając niektórych openingów anime, pojedyncze słowa kojarzysz, ale nie do końca wiesz o co chodzi. Jeśli rozpatrzymy to w takich kryteriach to wyszło nie najgorzej.
Prog-rock on steroids. It meandered too much to keep my attention.
Still can't deal.
Started on a high I think. It didn't really stay there, but the initial impression went a long way. Rest of it really let's down I think. Final rating is a weird balance
Hm, nee. Emo sowieso nicht mein Ding, und dann noch diese Dringlichkeit und das Pathos, und dann noch kombiniert mit Prog-Rock-Attitude. Klares „nein“ für mich. Extrapunkt von mir aus für die originelle Effektauswahl und die natürlich massig vorhandene Musikalität, aber auch dann bleiben wir unter 2.0.
I just can't get into this. Prog rock for Tool fans.
Boring and pretentious. Im sure its good for some people but I couldn't get into it.
Bizar. Ik kan er niet zo van genieten
would have loved this as a late-teen emo - but i never was one, so meh.
Sounds a bit like Paramour, but a lot edgier, but not in a good way, without the catchy choruses.
Could not get on with this
The description of this album sounds exponentially more awesome than the album itself. A concept album about a dude in a morphine-induced coma influenced by Miles Davis, Fela Kuti, and Santana? Sign me up! Then you pop it in and the vocalist is doing a Fall Out Boy impression while those influences rarely come to the fore. I haven't been this disappointed by an album in awhile. Best track: Cicatriz ESP
I audibly groaned as soon as the screen refreshed and this loaded after voting for the last album ('The White Album/The Beatles'). Maybe not as bad as I remembered but so much wailing.
2000s prog. better than much (a bit less clever clogs, and a certain willingness to rock). Lots of echoes of Fripp. The inclusion of latin percussion does not make it Santana-like. I like the noisy sound design, which give it a rough and atmospheric edge than I find lacking in much prog (which tends towards clean production to show off the chops). Good vocals, but don't get me started on the meaningless lyrics. I enjoyed it well enough while listening, but don't feel the need to listen again. Hal might like it, though. I like the Fripp-like guitar work, but, honestly, aren't there plenty of King Crimson albums that I would prefer to listen to? Yes. Yes, there are.
Weird one. I bounced between hating it and kinda liking it. Very unlikely to revisit.
Sounds pretty good.
Ist mir zu rockig/punkig.
Lite rock version of At the Drive In?
This was pretty inflated and incoherent but it didn't pop. Difficult to see a reason to revisit.
Mad neo-prog rock. Quiet, spacey intros, then crash! In come the drums and guitars. All the same. Unlistenable racket.
Like At The Drive In but without any tunes. Painful.
Not for me.
A little too emo-experimental for my taste
This album is the musification of manic depression. It has two gears: I) RAT-TAT-TAT-TAT-TAT-TAT-TAT-TAT!!!!!!!!! and II) Snuffleupagus (“Heeeyyyyyy Biiirrrrrrrrrd”. With respect to the first gear, there is a saying that goes: don’t confuse motion with progress. The corollary for this album is: don’t confuse notes with music. Rapid motion does not result in progress necessarily just as rapid fire notes do not mean music is being made. It applies to the whole band, but is best noticed in the drumming. Also the singer’s falsetto in the first gear is annoying. Completely annoying. The second gear seems to exist to give the band a rest in between their bursts of machine gun fire playing. In the manic phase, everything is a good idea and a diarrhea of thoughts and ideas come spewing out. In the depression phase, there are no ideas left worth conveying. Suddenly something clicks and the manic is back, RAT-TAT-TAT-TAT-TAT-TAT-TAT-TAT!!!!!!!!! I’m not giving this a one star because the first gear stuff (with no vocals) is impressive technically and somewhat enjoyable, but only in very very small chunks.
Didn’t get it then, don’t get it now
This is another of those albums I would like considerably more if there was a different vocalist. There's just something about the tone of this guy's voice that grates on me. The music is actually pretty good, and definitely something I could enjoy.
Mixing the weird and the noisy. Not me
bandname und artwork haben mich immer auf distanz gehalten, das macht unvoreingenommenes hören natürlich schwieriger - aber das branding (ja, leider) ist on point. eitelkeit, wehleidigkeit, auskennertum, selbstgefälligkeit - im geeigneten kontext kann das alles okay sein, aber wenn es so zusammenkommt wie hier, ist das einfach nur scheußlich. gefällt vermutlich meinen alten deutschlehrern.
Love a good active Bass part. I’m not sure the “concept” for this album is communicated clearly though. This is an interesting album but not very approachable for an unfamiliar listener.
Ew what was that I hated it. Horrible emo music. Listened on low volume just to get through it
Too frantic…not my style…like earlier prog rock(70’s/80’s)
a few seconds of dreadful
Album #17 (1001 Challenge): "De-Loused in the Comatorium" by The Mars Volta (2003) I've been dreading the day when this album came up. I guess get it over with early. Some people obviously love this album. Hence, it being on the list. I really, really tried with multiple listenings, even before today, to find something. The only thing I find this album to be is annoying. A less-focused, more sci-fi version of Muse. Metal Prog...that even sounds bad. Most of these songs sound like they were written for the sole purpose of being boss battles for Guitar Hero or Rock Band, which may not be a bad thing. But, not here. The drums or drum loop sounds like a machine gun or video game. No noticeable melody. The singing and overall tone is so overly dramatic. I didn't bother trying to figure out what's he singing about. Song titles like "Drunkship of Lanterns" don't really motivate me to find out more. Ughhh!
Another nope. This has been a weird week of music.
Not a fan.
NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOooooooooooooooooooooooooooooooooooooooooooooOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOooooooooooooooooooooooooooo My earholes squeezed themselves shut
Is it a bad thing to have too much polish and poise? The thing that I like about Daft Punk is it's two white French guys pretending to be robots, with the Mars Volta, it's six robots pretending to be aggressive music artists. This music is devoid of heart and feeling and any humanistic quality except for maybe ambition. Even the cold blast of air to the face on Inertiatic Esp, the opening track, goes directly into a quick drum wrap and operatic vocals. Which, I might add, the operatic-infused vocals throughout this album were likely pulled directly from American Idol. The Mars Vota and this album in particular embodies everything wrong with early 2000s major label music. It's this overproduced, spot-on perfection of prescripted anger and carefully placed melodies. Just because it's loud and quick doesn't mean it's real. I'm calling bullshit on the band's artistry and 'passion' for creating music. You can't be an artist if you're a robot.
First time of listening, sounds like early 21st Century Faux 70's Prog Rock to me. Intellectual navel gazing, with their backs to the audience. Or am I just a biased old punk! Cedric Bixler-Zavala sounds like Jon Anderson in his Yes heyday. Clearly very good musicians, just wished they had chosen a different style. I can of course see the quality here just don't particularly like the music. Never really liked "Concept" Albums as they are usually more important to those writing/playing them than to those listening (Exceptions to the rule here both Tommy & Quadrophenia by The Who). Hard to pick a favourite track on this one but I suppose "Take The Veil Cerpin Taxt" is the most listenable although as always with Prog Rock it's length (8 mins 42 Secs) means it overstays it's welcome! Not on my list I am afraid.