Frances The Mute

Performer: The Mars Volta
Engineer: Omar Rodriguez-Lopez; Dave Schiffman; Jon DeBaun; Andrew Scheps
Producer: Omar Rodriguez-Lopez; Omar Rodriguez-Lopez
Distributor: Universal Distribution

Notes: Composer: David Campbell . The Mars Volta: Omar Rodriguez-Lopez, Cedric Bixler-Zavala. Personnel: John Frusciante (guitar); Ernesto Molina, Fernando Moreno, Diego Casillas, Joel Derouin, Roberto Cani, Peter Kent, Josephina Vergara, Mario Diaz de Leon (violin); Suzie Katayama, Larry Corbett (cello); Adrian Terrazas (flute, tenor saxophone); Salvador Hernandez, Flea , Wayne Bergeron (trumpet); Nick Lane (trombone); William Reichenbach (bass trombone); Randy Jones (tuba); Larry Harlow (piano, Clavinet); Roger Joseph Manning Jr. (piano); Lenny Castro (percussion). Audio Mixer: Rich Costey. Recording information: 291 South Lake Street, Burbank, CA; 3222 Los Feliz Blvd, Los Angeles, CA; 3400 Eagle Rock Blvd, Los Angeles, CA; 373 Ewingsdale, Byron Bay, Australia; 441 W. 53rd Street, New York, NY; 453 Mario Julia Industrial Park, San Juan, Puerto Rico; 5161 North Cartwright Ave, N Hollywood, CA; 6540 Matilija, Van Nuys, CA. Photographers: Rupert Truman; Storm Thorgerson; Peter Curzon. FRANCES THE MUTE, the highly anticipated follow-up to the Mars Volta's stunning debut, DE-LOUSED IN THE COMATORIUM, finds the band's masterminds, Cedric Bixler Zavala and Omar Rodriguez-Lopez (both formerly of At the Drive-In), diving further into their bizarre, unique sonic aesthetic. Here various forms of Latin music merge with ambient passages, jazzy interludes, and fierce progressive rock. The Latin influence, in fact, is more evident than ever, with Bixler Zavala often alternating between Spanish and English lyrics, and full-on salsa sections providing a melodic respite from the energetic chaos (particularly on "L'Via L'Viaquez," which features pianist Larry Harlow). Despite the complexity of FRANCES THE MUTE's suite-like song structures, the tracks form a fascinating whole, never losing focus of the group's key elements--Bixler Zavala's stunningly expressive vocals and Rodriguez-Lopez's amazingly proficient guitar heroics. A challenging and fascinating album, FRANCES THE MUTE reinforces the Mars Volta's reputation as a bold, iconoclastic band.

Rolling Stone (No. 969, p.108) - 4 stars out of 5 - "[T]he Mars Volta's second album is an exhilarating transgression: concussive, nonlinear rhythms; mad-dog guitar alegebra; bloody-nightmare suites hung in bilingual free verse. In short, the beastly spawn of Radiohead's OK COMPUTER and Rush's 2112..." Spin (p.63) - Ranked #12 in Spin's "40 Best Albums Of 2005" - "[T]heir space jams still have roots in our doomed stratosphere, and their noodling has a hardcore pulse." Spin (pp.83-4) - "77 dizzying minutes...with timbales, loping strings, guest musicians and tortured moans....The Mars Volta are typing as fast as they can, throwing up screen after screen of concepts and rhythms." - Grade: A- Uncut (p.91) - 3 stars out of 5 - "[M]ighty entertaining. Beyond the obvious ambition and virtuosity, it's zeal which makes this so exhilarating..." Alternative Press (p.130) - 5 out of 5 - "[I]t's already the most riveting album of 2005 - provided you're ready to carve a wide enough hole in your consciousness to accept it." Magnet (p.106) - "The diversity of this album will appeal to all sorts of instrument-emporium loiterers....To the chagrin of jaded, knee-jerk critics and musicians, the Mars Volta is taking rock music in that elusive direction: forward." The Wire (p.58) - "[A]lmost literally breathtaking music." Mojo (Publisher) (p.63) - Ranked #39 in Mojo's "The 50 Best Albums Of 2005" - "[T]hey risked ridicule to deliver the sublime." Mojo (Publisher) (p.88) - 4 stars out of 5 - "[I]t is quite possibly the most ambitious, compelling and rewarding rock album you will hear this year."

Though Omar Rodriguez-Lopez and Cedric Bixler Zavala did time in popular Emo band At The Drive-In, their subsequent project, the Mars Volta, is a horse of an entirely different color. Instead of punk, the pair takes their influences largely from 1970s prog rock and fusion. Extended, suite-like compositions and dizzying instrumental virtuosity are the order of the day, rather than adolescent angst and primitive pounding. Mars Volta's debut album, 2003's DE-LOUSED IN THE COMATORIUM announced the band's presence with a bang, setting a standard for post-emo ambitions in the mid-2000s.

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