Amputechture [CD]

A mere 18 months after their 'Frances The Mute' masterpiece, TMV make a triumphant - and rather speedy - return with 'Amputechture'. It is their most coherent work to date in that it blends the (some may argue) "accesibility" of 'De-Loused...' with the more experimental elements of 'Frances...' yet manages to sound not much like either.

Beginning with the 7-minute 'Vicarious Atonement' the album instantly strikes you as different from previosu efforts. It's a slow track, the 1st 3 minutes of which are dominated by some dexterous guitar innovation and - most noteably - the clearly audible and welcome return of the keys which dominated 'Deloused...'. Towards the end of the song, the keys become more jazz-based, enhanced by the introduction of some brass instrument work. Moreover, vocals have been subtly layered making this rather delirious-sounding track even more enjoyable.

Stopping quite abruptly (as each track on this album does, unlike Deloused where they were woven into one another or Frances where there seemd to be 4-minute gaps of sound), you're led into Tetragrammaton - a 17 minute opus and perhaps one of the best tracks every put to tape by TMV. As expected, the fragility of the verses is balanced with the hyperactivity of the "chorus" with a tremendous bass-riff which is then followed by layered guitar work, solos and more layered vocals. The further extent of layering of the same instruments makes this album feel less cluttered than the last two. The 6-minute mark the track slows significantly in a Cicatriz-esque manner and around 8 minutes picks back up again in an explosive fashion with an amazing guitar solo. After 17 minutes it doesn't even feel like 5 have passed; it lacks the large gaps that Cassandra Geminni had and therefore seems more complete and coherent.

Tracks like 'Meccamputechture' explore new territory with Cedric almost "rapping" (for want of a better word) at the start before the guitars and brass-instrumental work kick in with 'space-like' samples kicking in too (the latter being another prominent feature of this album). The hypnotic repetition of "it lacks a human pulse" over the music towards the end of the 11-minute track leaves goosebumps on my skin; truely fantastic!

'Asilos Magdalena' is in the same vain as the "blackmailed she fell off every mountain" section of 'L'Via L'Viaquez', the guitar working alone with the Spanish lyrics providing something completely distinct from the rest of the album yet doesn't ever seem out-of-the-ordinary. This leads onto forthcoming single 'Viscera Eyes' which could probably be considered the most accessible work TMV have done, but the reasonably simple riff works PERFECTLY with the trumpet/saxophone and with Cedric's high-pitched Spanish vocals before turning back to the "come on and give it to me, come on and die. In your viscera eyes!" of the chorus. A truly magnificent song dispalying the signs of fantastic creativity.

'Day of the Baphomets' begins with some slow, Tool-esque work before leading into a bass solo before exploding into a flourishing track of bongos, layered guitars, sporadic jazz explosions/solos. The album is book-ended with slower tracks leaving 'El Ciervo Vulnerado' similar to 'Vicarious...', but that's just the cyclical nature of a TMV album. The calls of "bless it be, bless it be" and distorted vocals and "space-like" sounds over the somewhat Eastern-tinged base-sound of the track leave this as a perfect exit to a flawless album.

Cedric recently told people that Frusciante was only told his guitar parts 5 minutes before entering the studio to record this work and that it is largely innovation. For a band constantly pushing boundaries, TMV have succeeded immensely in their creation of a literally flawless album; a perfectly crafted, dexterous masterpiece; a blue-print for what music should sound like!! Innovative, spontaneous, refreshing and perfect are words that don't even scratch the surface. Trust me, you're going to love every second.

Mars Volta are very different here in their expression: however I would not necessarily fit this as an album- it seems more accurately a stage of progression.

Frances the Mute had more of the feel of an album with its consistance in style- and by having more actual songs. This album rarely actually seems to go full in to song. There are outbursts which are undeniably funky and catchy- the places where they continue riffs and ideas through. But more often than not the album is in limbo between songs- not just in Limbo but often in solo.

The choice here is yours, I personally preferred the overall structure of Frances the Mute. The endless soloing in this album I often find to much in the struggle for the music to progress- amd it is more careless.

However, I still admire the album in its new approach to the Mars Volta sound- Mars Volta being one of the most exciting bands I can relate to the dead scene of modern day music.

this is the mars voltas 3rd major album which they have brought out not too long after frances... as being a huge mars volta fan i was really expecting something special from the guys and because john frusciante plays on it (my fav musician ever) i thought well ok, this album is going to be extraordinary..

....and was i right?? YES, they have done it yet again with amputechture, which absolutely left me mouth open, and dazed. Only having 8 tracks, they are pretty lengthy as usual and really do go for it!! of course you may not know what i mean on first couple of listens but give it time and you will be addicted, and although not being their best, i gave it 5 stars because there is simply nothing wrong with it, but deloused and frances are better (thats saying something).. i strongly recommend you buy this album, one to remember..... thanks for reading