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Omar Rodriguez-Lopez And Lydia Lunch


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Product details

  • Audio CD (15 Oct 2007)
  • Number of Discs: 1
  • Label: Willie Anderson
  • ASIN: B000VT2O22
  • Other Editions: Vinyl
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 382,721 in Music (See Top 100 in Music)

1. Welcome To My Church - Omar Rodriguez Lopez
2. Getting Rid Of God - Omar Rodriguez Lopez
3. Back To The Goddess - Lydia Lunch
4. The End Of The White Man's Revolution - Omar Rodriguez Lopez
5. Woman (In The Beginning) - Lydia Lunch

Customer Reviews

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By J. Heyneker on 18 Jan 2008
Format: Audio CD
Straight to the point, this is a fantastic album, written by the best composer/guitarist/director of the new millenium. Omars work is consistently brilliant in every project he turns his hand too. And he's turned it too alot. Lunch's spoken vocal style and lyrics are interesting and complements the background of jazzy type ambience. If your looking for hooks and riffs, turn back now, Omar has written them, argubly some of the best ever written in fact, but not for this project. The lyrics follow a feminist/atheist theme which makes use of a minimilistic feel. There are no noticable breaks between tracks, in fact the track numbers are likely getting in the way of the fact that this album is one whole piece of music in its own right. For seasoned Omar/Mars Volta fans it is well worth a listen, and definately a dip in your pocket. For those new to the Genius that is Omar, perhaps listen to a few ATD-I records and some early Mars Volta recordings first. Whilst brilliant, Omars solo projects are undeniably fairly inaccessible to anyone not tripping balls on some freakish acid trip. That said i dont do drugs and i love it.
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1 of 1 people found the following review helpful By S. MCBEATH on 16 Nov 2008
Format: Audio CD
I don't think there is an artist in the world right now that is making and releasing more albums than Omar Rodriguez-Lopez. The man is clearly on creativity overload as this is his 4th album, with many more releases spanning 2007 and 2008. The main difference with this album compared to the rest of his albums is that the lyrics on this album are spoken rather than sang. Omar Rodriguez-Lopez collaborates with Lydia Lunch on this album who is a spoken word artist. The lyrics are so controversial that you would probably expect them to be on rap albums rather than a progressive rock album. But somehow this just works.

The album kicks off as it means to go on with opening track `Welcome to my church' throwing the album straight into a prog, jazz fusion style; mixing Omar's frantic electric guitar with saxophone performed by Adrian Terrazas-Gonzalez, keyboards performed by Money Mark, bass performed by Juan Alderete and drums performed by Marcel Rodriguez-Lopez. This sound is consistent through the whole album as Omar delves into his own world. But it is the collaboration with Lydia Lunch who delivers the vocals which is really the focal point of the album which says a lot considering the exquisite musical backdrop.

Although the album is only 5 tracks and 24 minutes in length, because the theme is the same all the way through, I feel Omar has done enough without over doing it. It is more of a concept album about god, women and war with the tracks having equal weighting than any particular song standing out. Opening track `Welcome to My church' kicks off the controversial lyrics with Lunch displaying her dark humour with lyrics like, `No women has never started a world war, No women has ever stopped a world war either'.
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Format: Audio CD Verified Purchase
Some really funky and trippy production on here. The compositions that Omar offers here present a constant latin tinged rhythm that progresses through the songs, but only slightly and almost imperceptibly, so that the five songs run into each other more like one 20 minute Jam. The album is only 20 mins or so long, but it could get fairly boring (or even quite annoying?) if it continued for much longer - so the 20 minute mark seems quite fine in my book.

The vocals offered by Lydia require an open mind. The voice has been manipulated to sound like the zombie thing from the 80's 'tales from the crypt film', and much of what she is saying seems totally flippant and no-brained, like a rather annoyin female Bill Hicks wannabe. The verbal content of the album really lets it down at times i feel. I wondered why exactly Omar chose to collaborate with this person.

Anyhow, changin the focus: the album, when judged merely on account of the mood it creates and the sounds that are played around with, makes for quite a quirky and interesting listen. In my humble opinion, this owes greatly to Omars virtuosity as a musician and producer than anything that Lydia does, and he could have feasibly swapped her input with that of, say, David Hasslehoff for an equally interesting listen. The concept of 'Polishin the turd' seems to spring into my mind. So adept is Omar at polishing turds judging by this work, that i would actually recommend this album - even if you don't particularly hate Religion and Men.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 6 reviews
6 of 6 people found the following review helpful
Omar Rodriguez & Lydia Lunch 17 Dec 2007
By Satellites in Distress - Published on Amazon.com
Format: Audio CD
The Omar Rodriguez & Lydia Lunch collaboration was recorded in Amsterdam and Spain in 2005. It's broken into five tracks but is really one long extended performance with the track listings dividing it up into roughly five minute segments. It delves into similar territory as the Omar Rodriguez Album and his prior collaboration with Damo Suzuki. Lunch performs her own spoken-word over a track created by Rodriguez and his band that sprawls out over 24 minutes, embracing latin/jazz, electronic, and jam-oriented hard rock all in one. If you are a fan of the Mars Volta and Rodriguez work in general this will be something you want in your collection. If you are a radio-friendly or pop-oriented music listener, this could be challenging territory, but don't be afraid to try something that doesn't fit in the box. In terms of pushing the envelope in pop-music, or in determining if terms like that even still apply, Rodriguez is at the forefront of a largely overlooked group of musicians out there playing music for it's own sake and challenging modern conventions of expression.
8 of 9 people found the following review helpful
Omar is getting weird. Great though! 6 Nov 2007
By Nathan Smith - Published on Amazon.com
Format: Audio CD
Omar has really done it again. I will though warn the casual listener this CD is absolutely not for everyone. Omar gets freaky with Lydia Lunch who comes across as a beat poet. You may not have heard of this Lydia before but i will tell you she is not afraid to say what she thinks.
Omar apparently recorded this record when he was in the middle of his musical writting mode in Amsterdam. This is only one of about 5 albums that he made during that period. I highly recomend checking out the other entries in his Solo back catalogue.
When i first put the cd in i was actually a little dissapointed but with further inspection it slowly starts to reveal itself upon multiple listens. It is as if he has taken his cue from Miles Davis alot in recent times. The music feels very free with little or no boundaries. Omar is obviously in charge though, you can feel it in the direction he is going in. The band itself on this record is strong with the drummer and bass player holding a tight groove over the 30 or minutes of music on offer here. The music is basically one really long jam and doesnt alter course all that much. Lydia doesnt actually offer all that much to proceedings although when she does appear it is normally with sound effects talking about God and Religion and the effects of war...You dont notice the tracks go by as one track will weave into the next almost silently. Basically if you like the Mars Volta and Omars solo stuff be prepared for a ride. Omar is a unique voice who is important to my musical landscape. Check it out if you like your music interesting, a little to the left and very free. It has remnants of Free Jazz all over it but Omar cannot escape his rock background. A worthy and interesting addition to Omars already wide music catalogue.
1 of 1 people found the following review helpful
Controvertial 16 Nov 2008
By S. MCBEATH - Published on Amazon.com
Format: Audio CD
I don't think there is an artist in the world right now that is making and releasing more albums than Omar Rodriguez-Lopez. The man is clearly on creativity overload as this is his 4th album, with many more releases spanning 2007 and 2008. The main difference with this album compared to the rest of his albums is that the lyrics on this album are spoken rather than sang. Omar Rodriguez-Lopez collaborates with Lydia Lunch on this album who is a spoken word artist. The lyrics are so controversial that you would probably expect them to be on rap albums rather than a progressive rock album. But somehow this just works.

The album kicks off as it means to go on with opening track `Welcome to my church' throwing the album straight into a prog, jazz fusion style; mixing Omar's frantic electric guitar with saxophone performed by Adrian Terrazas-Gonzalez, keyboards performed by Money Mark, bass performed by Juan Alderete and drums performed by Marcel Rodriguez-Lopez. This sound is consistent through the whole album as Omar delves into his own world. But it is the collaboration with Lydia Lunch who delivers the vocals which is really the focal point of the album which says a lot considering the exquisite musical backdrop.

Although the album is only 5 tracks and 24 minutes in length, because the theme is the same all the way through, I feel Omar has done enough without over doing it. It is more of a concept album about god, women and war with the tracks having equal weighting than any particular song standing out. Opening track `Welcome to My church' kicks off the controversial lyrics with Lunch displaying her dark humour with lyrics like, `No women has never started a world war, No women has ever stopped a world war either'. In the second track `Getting Rid of God', it is the saxophone which takes centre stage for the first half of the track till it is back to Lunch's rants.

Third and fourth track, `Back to the Goddess' and `The end of a white man's revelation' continue in the same vein setting the scene nicely for album closer `Woman (In the beginning)' where Omar lets himself loose on the guitar with in my opinion his best work of the whole album. The controversial lyrics continue with `We should have bombed the women of Afghanistan and Iraq'. If you think these lyrics are controversial or are offended by them this album is probably worth a miss as it does get more extreme. For me though Lydia Lunch offers a different way of looking at things, I don't agree with most of the things she says but at the same time her voice does fit with the music and the vocals are delivered in a tongue and cheek style.

Overall this is a very good album. Some of the statements made may shock you. But I think the point of the album was to make an impact on this listener and to make them think in a different way. Some may be offended, others may agree with what Lydia Lunch says. However one thing is for sure the frenzied music on display is once again of very high standard and kudos for Omar for experimenting his music with the spoken word.
The Blastic Ono Experience 15 April 2009
By Alaric - Published on Amazon.com
Format: Audio CD
Someone with low tolerance for hip-hop will find this album a hard, grating listening. Lunch's rants come in streams of half-yelling commissar vulgarity, and the 'social relevance' of the lyrics slips into banality nine times out of ten lines. It sounds like Eryka Badou's 'unplugged' album, with the addition of noise all over. The outcome is a set of tracks with lots of fire, but no heat.
Complete Crap 10 May 2011
By D-bo Ichiban - Published on Amazon.com
Format: Audio CD Verified Purchase
I love the mars volta, and I have all of their music, but C'mmon Omar, this album is a freakin joke! I don't know how people could get paid to make this junk, I could make better music playing the guitar with my ass.
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