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Product Description
Amazon.co.uk Review
The music of The Mars Volta is probably fairly routinely dubbed "out of this world", but on The Bedlam in Goliath, you can apparently take that as literal. A loose sort of concept piece concerning Omar Rodriguez-Lopez and Cedric Bixler-Zavala’s dalliances with an ouija board, an occult device using which you contact spirits–-specifically, the titular 'Goliath’, whose pronouncements from beyond the grave inspired a lot of the album’s lyrics-–the fourth album from The Mars Volta finds them carving their particular niche ever deeper. The likes of "Wax Simulcra" are dynamic prog-rock jams characterised by Bixler-Zavala’s high, nasally voice, screaming saxophone, and guitar solos courtesy of Chili Pepper John Frusciante. "Cavalettas", meanwhile, features flourishes of flute. But if you’ve been worrying The Mars Volta’s voyage into the progressive is in some way at the expense of their straightforward energy, say a silent prayer for the arrival of new drummer Thomas Budgen, whose blend of technical prowess and hard hitting energy feels like a real shot in the arm; indeed, segments of "Agadez" could almost be the work of Cedric and Omar’s former band, Texas hardcore ensemble At the Drive In. Now that’s the spirit. –-Louis Pattison
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Customer Reviews
Most Helpful Customer Reviews
13 of 13 people found the following review helpful
Format:Audio CD
There is no let up in this, The Mars Volta's fourth album. From the full on opening rush of "Aberinkula" there is no room to breath throughout the 12 tracks on this monster of an album. The 13th track here is a cover of the Pink Floyd b-side "Candy and a Currant Bun".
The usual frenetic Mars Volta style is here intact, but there is an increasing maturity coming into the maelstrom of sound. This is especially prevalent on the very excellent "Ouroborous" which is wonderfully arranged and executed. This track itself shows a compositional sophistication beyond which the group has rarely achieved before. Brilliant stuff! That's not to say the rest of the album lacks, it doesn't. There are so many great musical ideas on show here. For instance, the strange way throughout "Cavalettas" each verse fades out and then comes back in is inspired and really works.
For me I can always hear in the Mars Volta style King Crimson, Yes circa "Relayer", electric Miles Davis and especially on this album the be-bop thrash of John Zorn's long gone Naked City project. But the band has developed so much throughout their four albums, to a point where anything is possible in the future. "The Bedlam In Goliath" is a truly individual, inspired and exciting rock album from a band who continually push themselves forward. There are very few who are willing to do that nowadays.
The usual frenetic Mars Volta style is here intact, but there is an increasing maturity coming into the maelstrom of sound. This is especially prevalent on the very excellent "Ouroborous" which is wonderfully arranged and executed. This track itself shows a compositional sophistication beyond which the group has rarely achieved before. Brilliant stuff! That's not to say the rest of the album lacks, it doesn't. There are so many great musical ideas on show here. For instance, the strange way throughout "Cavalettas" each verse fades out and then comes back in is inspired and really works.
For me I can always hear in the Mars Volta style King Crimson, Yes circa "Relayer", electric Miles Davis and especially on this album the be-bop thrash of John Zorn's long gone Naked City project. But the band has developed so much throughout their four albums, to a point where anything is possible in the future. "The Bedlam In Goliath" is a truly individual, inspired and exciting rock album from a band who continually push themselves forward. There are very few who are willing to do that nowadays.
19 of 20 people found the following review helpful
Format:Audio CD
Well, it's interesting to read reviews, even the guy who made the Radiohead and Cream comment. I'm 54 and saw both bands live, as well as Floyd, Softs, Hendrix, Zeppelin, Pistols etc. I stopped going to live gigs as I felt I was getting a bit old. However, as TMV are without doubt the best band I've heard I went to the Glasgow gig, expecting not too much bearing in mind the complex studio album productions.Wrong: they were superb with the same undiluted energetic commitment (and fun)and I'm glad they are here. Sure, buy Goliath. Most people won't, but that's most people for you.
4 of 4 people found the following review helpful
Format:Audio CD
I'm glad someone has mentioned Dark Magus already. The words rip off are far to strong, but lets just say that it's probably an album they've been listening to a lot lately.
Another thing I feel I should mention (because even after all this time, it seems a lot of people have still to get their heads around this one); the Mars Volta are NOT ATDI under a different name, and they never intended to be. They are a very different (and in my opinion, far superior) beast.
One last thing; they are the dreaded P word. Now, if I don't like a musical genre, I don't listen to it. However, people who don't like prog seem to want to listen to it in order to criticise it, which I just feel is immature. If you want to listen to a band like the Mars Volta, you should expect long tracks, you should expect noodling, and you should expect everything else that comes with the genre. To be fair, they don't push things half as far as they've been pushed in the past.
So, The Bedlam in Goliath then. It does feel like they've taken their music and trimmed all the "pointless" bits off, to leave a sort of low fat alternative. However, it's now that we can see exactly what the point of the "pointless" bits are: just a bit of a break from the insanity! TBiG starts, then it's a good 20 minutes of relentless intensity before you even get a chance to breathe. And then it's straight back into it! On the first few listens it was just far too much to take in at once, and because there's very little to contrast it, the insane bits don't seem to have the edge that they had in previous albums. It was all just a bit of a disappointment.
However, I was wrong to doubt them. A few more listens and the subtleties start to shine through. In my opinion the album could benefit from a bit more variety in intensity, but there's certainly no drop in musical standards. The guitaring is, as you would expect, outstanding; the drumming is breathtaking; and although featured a lot less in this album (much to my disappointment) the keys do shine through on occasion. As usual, it sounds like an ensemble playing where every member has their own conductor and their own agenda, but as usual it all works together in a way that would have any composer left scratching their head.
This album certainly isn't gonna win the band many new fans, but I don't think that ever really is the plan. Fans (especially ones of the last two albums) will probably love it (the reviews here seem to suggest that), and although there will be the cynical few who go out of their way to tell everyone how bad it is, the music stands up for itself (after the difficult first few listens anyway) as being another satisfactory chapter in the bands growing legacy.
Another thing I feel I should mention (because even after all this time, it seems a lot of people have still to get their heads around this one); the Mars Volta are NOT ATDI under a different name, and they never intended to be. They are a very different (and in my opinion, far superior) beast.
One last thing; they are the dreaded P word. Now, if I don't like a musical genre, I don't listen to it. However, people who don't like prog seem to want to listen to it in order to criticise it, which I just feel is immature. If you want to listen to a band like the Mars Volta, you should expect long tracks, you should expect noodling, and you should expect everything else that comes with the genre. To be fair, they don't push things half as far as they've been pushed in the past.
So, The Bedlam in Goliath then. It does feel like they've taken their music and trimmed all the "pointless" bits off, to leave a sort of low fat alternative. However, it's now that we can see exactly what the point of the "pointless" bits are: just a bit of a break from the insanity! TBiG starts, then it's a good 20 minutes of relentless intensity before you even get a chance to breathe. And then it's straight back into it! On the first few listens it was just far too much to take in at once, and because there's very little to contrast it, the insane bits don't seem to have the edge that they had in previous albums. It was all just a bit of a disappointment.
However, I was wrong to doubt them. A few more listens and the subtleties start to shine through. In my opinion the album could benefit from a bit more variety in intensity, but there's certainly no drop in musical standards. The guitaring is, as you would expect, outstanding; the drumming is breathtaking; and although featured a lot less in this album (much to my disappointment) the keys do shine through on occasion. As usual, it sounds like an ensemble playing where every member has their own conductor and their own agenda, but as usual it all works together in a way that would have any composer left scratching their head.
This album certainly isn't gonna win the band many new fans, but I don't think that ever really is the plan. Fans (especially ones of the last two albums) will probably love it (the reviews here seem to suggest that), and although there will be the cynical few who go out of their way to tell everyone how bad it is, the music stands up for itself (after the difficult first few listens anyway) as being another satisfactory chapter in the bands growing legacy.
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Most Recent Customer Reviews
this cover is wrong
well i like the mars volta a lot and i already have the bedlam in goliath but i wanted to buy this version because it's different, or not! Read more
Published 3 months ago by otto
In yer face
The album has lets say a unique beginning, I dont want to spoil it for you but you will certainly register it. Its a non-stop expertly put together wall of noise. Read more
Published 15 months ago by P. Winthrop
Their Brashest, Noisiest Album Yet
The Mars Volta don't mess about on The Bedlam in Goliath, or to put it another way... they most certainly do. Read more
Published on 17 April 2010 by Gentlegiantprog
I like it
So i like it, but my girl friend doesnt. As a musician I can appreciate that these musicians are very talented. Read more
Published on 15 Dec 2009 by D. Clarke
Perfect CD
I asked for a Mars Volta CD, and I got a Mars Volta CD, in perfect condition. I can say no more. Great!
Published on 25 Sep 2009 by Jack Mccready
The Mars Voltas 'Mainstream' Album?
this is the most accessible mars volta album in my opinion. Previous Mars Volta albums seemed to take a ferw listens to grow on me. Read more
Published on 28 Aug 2009 by M. A. Ratcliffe
If you like Bedlam
I think this is a great little album. Yes it is a cacophany of sound but it is the sound of music. Saw them play the title track at Somerset House, fantastic.
Published on 1 Aug 2009 by Gerard Deegan
the joys of maximalism
2006's 'Amputecture' was a record of brilliant moments, but ultimately an impenetrable one even by the Mars Volta's standards. Read more
Published on 14 Jun 2009 by Mr. J. P. Young
Deja vu....aurally
Just listened to the related link to the track 'Birthday'...love TMV but would never in a million years have thought they'd go in this direction of comparison... Read more
Published on 29 Jan 2009 by Tanya
What an album!
This is more familiar territory for Omar Rodriguez Lopez's project, The Mars Volta. What we get here is 12 tracks (and a bonus one) spread over 79 minutes. Read more
Published on 25 April 2008 by Dafydd Jones
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