John Vs. “Octahedron” by The Mars Volta

I know it’s not relevant.

I know it’s my second straight review involving Cedric & Omar.

I know there’s a big hate-on for The Mars Volta.

I’m not here to argue against disliking them.

Every complaint is legitimate towards most of their recent work. I would even go as far as to say that liking “The Bedlam In Goliath” is a sign of almost fanboyish appreciation of the TMV approach, and also for “Amputechture.” These two albums are in contrast with what is now the larger amount of their work: “De-Loused in the Comatorium” and “Frances the Mute” are two albums that strike a careful balance between psychadelia, salsa, and obtuse storytelling and do so well in their own ways- the dizzying ambition of “Frances” vs. the arrival qualities of “De-Loused.” What I am here to suggest is that perhaps we were all unfair to “Octahedron” when it surfaced last year.

The reception to “Octahedron” rang of dismissal and disappointment, the former from those turned off by “Bedlam” (me) and disappointment that it was not even faster and crazier (the Comatorium). The one thing I will say in favor of “Bedlam” is that it was in many ways a return to earth for Cedric as a singer and lyricist, as well as Omar’s sense of melody. These developments were eclipsed by Thomas Pridgen, who I am quick to say fits every negative stereotype I have about drummers. The reality of the situation is that Omar’s production style worked excellently for one album- “Frances”- which was grounded in a very, very tight rhythm section between Theodore and Alderte.

They lost that grounding for “Bedlam,” and instead set a young prodigy in front of a drum set, and told him to play as if the song was just him. It ended up being oppressive and obnoxious, leaving perfectly good songs in tatters underneath cheesy overdrumming. Goliath is a particular offender here, but I am partial to Omar’s solo work, and I thought Rapid Fire Tollbooth was one of the best songs he’s yet put together. It’s just not a song that fits with stadium drumming.

Alright, actually talking about “Octahedron” now. Where “Bedlam” was Omar and Cedric coming back to earth, “Octahedron” has the rest of the band joining them. The album is as a result a lot less out of control. I wouldn’t call it calmer, even if it is for the most part slower, as it’s just as intense as earlier work. The difference is that with the slower pace, it builds over the whole album as opposed to each individual song being a wild prolific panic. It makes “Octahedron” a lot more approachable as a result, and it’s ideas are more easily communicated as they grow in complexity.

“Since We’ve Been Wrong” is the most human Cedric has appeared in five albums, and is an exceptional intro to the album. It reads as an ode to a bad relationship, the vulnerable yearning for salted scorched earth. It’s vulnerability sticks out as it establishes one of the three basic themes for the album, a tragic sympathy for humans. The other two themes are established within the other two initial songs- “Teflon” mediates on the evil of overtaken institutions, while “Halo of Nembutals” considers what nothingness is going to eventually imply, as well as the humor that comes from those realizations.

The strongest aspect of Octahedron is that it is a complete album. It’s a collection of songs that exist and rely on each other for that existence. This isn’t an easy album to pick tracks out of and put on mix tapes, as they breathe each other’s air more dependently than prior efforts. It’s an album that feels alive, an incredible accomplishment given the discography of The Mars Volta.

WINNER: “Octahedron” by The Mars Volta

WHY: It’s good to see them back down here with us.