DandelionL2
Usuario (Argentina)
Fuente: QPrime (agencia de managing de The Mars Volta) TRADUCCION: (empieza en el parrafo 8 o 9) Link For The Mars Volta's brand new fifth album Octahedron, Omar adopted an oblique and entirely new strategy, one he'd never tried before in the group's career. Having cut the basic tracks for this new album, instead of retreating to the studio to tinker endlessly with the songs and recordings, he chose to step away. Instead of feverishly adulterating the tapes with the mosaic of overdubs and FX that have typically aided Omar in realizing his concepts, he chose instead to polish and refine what he had, to hold back on every bell and every whistle. The result is, he says, the first of his albums that he can listen to for pleasure. It is also an album that distils all of the energy, all of the furious invention that characterises music with a clarity they've never before achieved. In keeping with this spirit, Omar pared the band down to a 6-piece lineup, asking Hinojos and Terrazas to leave, both of whom did so amicably. "It was really challenging, to hold back," he smiles. "To add many layers, or an instrumental freakout section here or there, began to feel predictable to me, so I started putting restraints on myself, saying no, you aren't going to add 97 extra parts to this song. I reined it in, and kept it to the core of what those songs were." Octahedron is an album heady with the emotion and high-drama that has always been The Mars Volta's trademark, their newfound simplicity and focus delivering some of the most immediate and powerful songs in their discography. Lyrically, Cedric employed 'disappearance' as a loose theme, inspired by the culture of kidnapping that has latterly infected the group's current home of Mexico, by the mysterious disappearances that populate the library of urban myth, and the way emotions - even the strongest, purest emotions - can mysteriously, but entirely, ebb away. The album opens with the tender ache of "Since We've Been Wrong," Cedric's keening vocal establishing a mood that's deeply blue, powerfully melancholic, a suckerpunch that hits every bit as hard as Octahedron's unashamed rockers (the gleaming futuristic funk of "Teflon," the tense chase-music of "Cotopaxi". Pulling back from the full-tilt experimentation of previous releases, Octahedron invests its energies in Omar's gift for songcraft, for swooning guitar runs of high tension and emotive power (closer "Luciforms"' epic riffage), for the nagging hooks and choked melodies that wreath the churning rhythms of "Desperate Graves." "For me, all that's important is if something moves you or not," explains Omar. "I've never tried to be tricky, to be complicated; if it gives me goosebumps, I'll use it. If it's striking, if it hits me as a listener, that's all that matters to me." Ultimately, the album is another in a series of testaments to Omar and Cedric's unassailable faith in following their muse in whichever direction it takes them; thus far the journey's been the ride of the creative lifetime, and they see no sense it second-guessing it yet, especially not when it delivers so pointedly powerful a record as Octahedron. "The only reason we even have a fanbase is because I've stayed true to my instincts," nods Omar. "We've not tried to repeat previous successes to make them happy, we've stayed true to ourselves, and made the music that we want to make, and that's what they respond to. They can sense this is something really pure." And on Octahedron, perhaps purer than ever. RESUMIENDO: (1) Parece que The Mars Volta va a volver al sonido mas simple que tenia en 2001 al 2004, en vez de muchas capaz de sonido, pocas capas de sonido pero mucho mas trabajadas. (2) Dice que Omar le pidio a Hinojos y a Adrian "que se vayan" (?) no se a que se refiere, supongo que solamente a este disco porque no tendria sentido The Mars Volta en vivo sin Adrian ni Pablo. (3) Omar describe a Octahedron como "uno de los primeros albums que puedo escuchar por placer" (4) Parece que el tema del album son desapariciones aparentemente ocurridas en Mexico (vean el video de Invalid Litter Dept de Atthe Drive-in) o eso entendi yo por lo menos. (5) La unica razon por la que tenemos una fanbase estable es porque fui fiel a mis instinctos, hicimos la musica que quisimos hacer, y ellos respondieron a eso. Mientras tanto Children of Nova y RX Bandits http://taringa.net/posts/musica/2568068/Children-of-Nova---Altamente-recomendado!.html http://taringa.net/posts/musica/2573236/RX-Bandits---Ultimo-disco-y-noticias-del-proximo.html
The Mars Volta Since We've Been Wrong Do you remember how you wore that dress it slit my sight beneath the eyelids Do you remember what you said to me What course has given you the right to stray And in your living tomb I'm stuck but safe The clocks are ticking fast with every breath Since we've been wrong I've been part awake Since we've been wrong You will never ever know me What took you so long I'm not sure all the way But my heart it asks just one more time Are you still a mess One day a rain will come to wash away The earth that held us was no island I have become ingrown inside this skin I'll find a way out through those eyelids When all the days become a cast away I seem to think I don't belong here Since we've been wrong I've been part awake Since we've been wrong You will never ever know me What took you so long I'm not sure all the way But my heart it asks just one more time Are you still a mess I don't belong here I shouldn't stay What falls inside me grows empty The walls between us will never break Just seal it shut it grows empty Since we've been wrong I've been part awake Since we've been wrong You will never ever know me What took you so long I'm not sure all the way But my heart it asks just one more time Are you still a mess Teflon I just don't know the layman's terms to call the mess you breed What thaws beneath this surface soils blood to your family tree The dates they change with each new phase I'm anxious bouts of nervous What am I without the bruises this switch it won't come on What do I do to lose it beneath this distress call Let the wheels burn Let the wheels burn Stack the tires to the neck with the body inside Frames of infrared keep scrolling into focus Scarab crank the busy signal with habits that you notice The dates they change with each new phase I'm anxious bouts of nervous What am I without the bruises this switch it won't come on What do I do to lose it beneath this distress call Let the wheels burn Let the wheels burn Stack the tires to the neck with the body inside Taking all the hostages into the oval office Draw the curtains part their hair and pull the trigger softly if they have me committed then i'll just take you with me One driver in your motorcade is all it takes....is all it takes Sandmen grains in Teflon veins is all it takes....is all it takes What am I without the bruises this switch it won't come on What do I do to lose it beneath this distress call Let the wheels burn Let the wheels burn Stack the tires to the neck with the body inside Halo of Nembutals When the earth lets you go When the verdict is vermin By the fork in my tounge When you run out of sermon When sooner or later is still not enough What a foul little temptress your daughter's become Deviate all by means in name 'Cuz we all crawl in quicksand the same The night I begged you to come to me The limp in your talk and the scent of your bleed And still I'm not willing to let you go You covered your wounds in a bandage of sloth The deeper the slur that rang from her laugh And something tells me to keep it together How could you turn your back on me I've summoned the stampede of infidel feet For all I ever wanted is all you ever flaunted Deviate by all means in name 'Cuz we all crawl in quicksand the same Vanished to 5th dementia Cables of ringworms have hung themselves Of this I ate... Communion shaped Serpent rays in prism tail rainbows escape They sent in the necrophiliacs Carcinogen tar turns to smoldering asp Of this I ate... Communion shaped Serpent rays in prism tail rainbows escape Read it from bottomless palindromes Hear my request to be disowned Of this I ate... Communion shaped Serpent rays in prism tail rainbows escape Deviate by all all means in name 'Cuz we all crawl in quicksand the same With Twilight as My Guide I'm bolted from within from long conniving heights The hail it makes a special sound that always stays into the night She tells me I'm not capable of what they accuse me with no remorse I stand and say that guilty is what I plead My devil makes me dream like no other mortal dreams With a blank eye corner The only way to see him in the tunnel where he slept By the longest tusk of corridors Numb below the neck in my heart Where he keeps them in a vault of devil daughters When I bend in kicking form with twilight as my guide in every home the ghost veins gossip You can hear them if you try When my quill begins to squirm from the ahses in your urn Your deviance is anything but faithful My devil makes me dream like no other mortal dreams With a blank eye corner The only way to see him in the tunnel where he slept By the longest tusk of corridors Numb below the neck in my heart Where he keeps them in a vault of devil daughters Every body hangs like dead leaves Don't you hurt these branches waiting I've been watching you fall to me Don't desert me I'm not waiting My devil makes me dream like no other mortal dreams With a blank eye corner The only way to see him in the tunnel where he slept By the longest tusk of corridors Numb below the neck in my heart Where he keeps them in a vault of devil daughters Cotopaxi When Sanskrit was my mother toungue Scarabs filled my pillow Tarmac strips to pave for them Thrones from which to teach And in that pulse the future said The story had been spun Wet your bed so sleep in it Cards can't make a house And up that hill go the last of my crumbs We'll be lucky if we eat tonight And up that hill go the last of my crumbs That's why I'll magnify a hole... When light years came And light years passed Tugging on the brink Spoils reported missing Put down in its sleep Strangled in the background Fitted for a mask Future won't believe you Past the ransom fast And up the hill go the last of my crumbs We'll be lucky if we eat tonight And up that hill go the last of my crumbs That's why I'll magnify a hole... Don't beat around the pulpit There is no lost and found Where is the devil waiting Trying to disguise... I've seen what you used to look like Down here you won't survive I've got the weight of half of the world Don't stop dragging the lake Don't stop dragging the lake I won't come home If you can't come home Even if you make a grave with my name I've got the weight of half of the world You better keep on looking for me I won't come home If you can't come home Don't stop dragging the lake Don't stop dragging the lake And up the hill go the last of my crumbs We'll be lucky if we eat tonight Up that hill go the last of my crumbs That's when I'll magnify a hole... in your abdomen Find me the head And I'll show you the body Lay it to rest Don't say I'm sorry Desperate Graves The swarms that I speak are the wrists I have cut by flooding the tubs Where the warmth held her up The lockets believe that the secret of love has caught its own tail and its just won't give up When I breathe the heavens can't hold me and I can't believe anymore The light brings the highest execution Show me the wings I must cut In your landfill days these are desperate graves Give me the alter red will shine This pendulum won't wait If I slay your spirit with twin current volts that weak in your knees in the pit of my palms Dressed in the slurs of bovine engines to feat upon the carcass of your mother When I breathe the heavens can't hold me and I can't believe anymore The light brings the highest execution Show me the wings I must cut In your landfill days these are desperate graves Give me the alter red will shine This pendulum won't wait When I turn the dial and leave the gas on I'm the matchstick that you'll never lose These are the splinters made from a single blade I'm the matchstick that you'll never lose I light the key that locks you in I'm the matchstick that you'll never lose And you'll wear the burden of all my burns I'm the matchstick that you'll never lose In your landfill days these are desperate graves Give me the alter red will shine This pendulum won't wait Copernicus Close the doors If you want to see her breathing again Blur the days sleeping is just not an option How come every time I walk you crawl When you cut out all the letters that make up this note I won't give up 'til I find out 'til I find what happened to you The solution inhaled from the rag I hold holds a maximum vacancy As I held you in crippled bandages Don't you stay up and wait for me Left dangling in the wind You're not there I poke needles in the neck of a doll She pokes back asking why can't I just let her out How come every time I walk you crawl When you cut out all the letters that make up this note I won't give up 'til I find you The solution inhaled from the rag I hold holds a maximum vacancy As I hold you in crippled bandages Don't you stay up and wait for me Left dangling in the wind Don't let the days escape What I did brings more of them And we'll be waiting just for them Over my dead body Over the search they lead and they won't find them anymore Now that I collect from cells that we once shared with multi-headed union of multiple selves The solution inhaled from the rag I hold holds a maximum vacancy As I held you in crippled bandages don't you stay up and wait for me The solution inhaled from the rag I hold holds a maximum vacancy As I hold you in crippled bandages don't you stay up and wait for me Left dangling in the wind Luciforms How much do you make in that death factory Severance owed in the chamber of revolvers Empty jails fall from my scalp Shake the globe and let me out If still I can remember the day That they took you from me Seems like I've been running from your trenchant memory Harp sickle will warm me when it's over 'Cuz if heaven breathes then someone trade places with me 'Cuz I dont want to tear feathers instead of rags Instead of rags When do I get to see the body preserved inside this grin Sewn in the lips where her last words I'lll be damned - I can still hear her laughing Your angles have tangled their brass again The comfort of doubt still it keeps you thin And still I can remember the day That they took you from me Seems like I've been running from your trenchant memory Harp sickle will warm me when it's over 'Cuz if heaven breathes then someone trade places with me 'Cuz I dont want to tear feathers instead of rags Instead of rags Does your temperature ache Is your glass about to break Are you purple with current Will you now become the servant Gordian knots in the power lines Saucer fills to empty with pesticide Like the pharoahs of old Bury me in gold I'll make your son refuse to fight in the stalk home setting that we provide If your heart does cease to speak My fingernail choir will make your chalkboard sing SOURCE
The Mars Volta Primero un video con tono humoristico... Hitler se entera que Octahedron es un album pop y... The Mars Volta toca en Letterman. Entrevista con Cedric (muy interesante) Primero les resumo la entrevista para los que no estan muy cancheros con el ingles. 1- Originalmente Since We've Been Wrong iba a estar en Bedlam. 2- El proximo album probablemente sea una combinacion de sus trabajos anteriores. (no tomen a Cedric muy enserio porque no debe tener mucha idea ) 3- Las letras de Octahedron hablan sobre "secuestros, desapariciones, escenarios de que pasaria si y como sacar a los republicanos de la Casa Blanca si logran entrar [la letra de Teflon dice "llevando a los rehenes a la oficina oval, cierra las cortinas, separa el cabello y tira del gatillo suavemente". 4- Cedric tiene bastante material para un disco solista, escrito con el baterista Deantoni Parks (ex Mars Volta, y tambien toco con Tom Waits). Omar tambien tiene algunos discos de electronica hechos con el. 5- Se puede esperar mas material retorcido como el puente de Copernicus. 6- Los shows de Octahedron van a tener varias canciones del album, junto con los clasicos y sus improvisaciones, y es posible que agreguen algun jam a los temas nuevos. 7- Cedric deja la puerta abierta para una reunion de At The Drive-In. 8- Se pueden esperar otros 10 años de The Mars Volta. Antes de seguir con la entrevista, ayuden a destrabar el video de Octahedron de esta pagina. Descubrimos un metodo que consiste en agregar puntos arbitrariamente a una direccion de gmail (y copiandola varias veces, pueden mandar hasta 15 consecutivas clickeando en add another address), la mia es [email protected] Hagan asi: [email protected] [email protected] [email protected] (...) [email protected] [email protected] [email protected] (...) El contador esta bajando 10 veces mas rapido con este metodo. www.themarsvolta.co.uk/octahedron "Interviewing bands as a fan or as a journalist is all well and good but there's only so much insight a 'critic' has. Musicians are like a totally different breed and if we've learnt one thing from our takeover weeks, it's that musicians talking to each other is incredibly illuminating. We're yet to come up with a great title for this new feature (Artist-on-Artist, Peer-to-Peer, Muso-mush...) but the concept of getting musicians we like to interview each other is a definite goer. So far, we've have Catherine AD picking Tori Amos's brains and Ed Droste from Grizzly Bear chatting to Phoenix via Skype. For the third instalment of Artist 'n' Artist, former Les Incompétents and current Ox.Eagle.Lion.Man man Frederick Blood-Royale meets former At The Drive-In and current Mars Volta spearhead, Cedric Bixler Zavala. Distant PR person voice: Cedric meet Frederick...Frederick meet Cedric. ...click... FBR: Obviously the first thing to bring up, is that having listened to Octahedron a few times, it's clearly a pretty big departure from Bedlam. Lighter, more straightforward, more commercial. What's the idea behind the record? Cedric Bixler-Zavala: We wanted to make the opposite of all the records we've done. All along we've threatened people that we'd make a pop record, and now we have. FBR: Something deliberately more accessible? CBZ: Well, just for us really. The first song was something that was meant to end up on Bedlam, but I guess it didn't fit. What we wanted to make was an acoustic album. So this is our version of that, but obviously not sticking to the rules. It's always good to get rid of one audience to gain another. The old audience always knows what to expect. And I'm sure whatever audience comes from this album, we'll disappoint them with the next record. FBR: So you want a challenge for the fans who only want twenty minute guitar solos and no choruses? CBZ: We did have choruses before, just the libraries of music in people's heads are so undeveloped that their ideas of choruses are training wheels and the Bay City Rollers. FBR: In terms of your career as a whole, is this going to be as 'pop' as The Mars Volta ever get? CBZ: I don't know what's going to happen. The next record might be a combination of everything we've done so far. At the same time Omar's releasing an album called Crypt Amnesia with the drummer Zac Hill... FBR: From Hella? CBZ: Yeah exactly, so if anyone's bummed that The Mars Volta record's too simple or too pop, they can buy that album and it'll take them right back to that kind of sound. It's one of my favourite things I've ever worked on. It's pretty much a Mars Volta record, just without Thomas, Ikey, and Marcel. With Volta was just our acoustic record that turned into our pop record. FBR: And is it a concept record? CBZ: Not really. I thought it was going to be but never really got around to writing about anything in particular. Just a lot of instant song composing and regular themes that I wouldn't even want to elaborate on... FBR: Surely there imagery that stuck in your mind throughout the lyric writing process? CBZ:...kidnappings, vanishings, 'what if' scenarios about how to get Republicans out of the White House if they'd got in. FBR: What have you been listening to that influenced it? CBZ: A lot of Scott Walker ballads, ballads from Rocky Ericsson and the raspberries. FBR: Your lyrical vocabulary seems a lot more down to earth too. CBZ: Yeah, probably. But you think I'm saying something and then you read the actual lyric and realise it's pretty bent out of shape. What people need to understand is that we've been doing this for almost ten years now and everything we do is just our way of making things interesting for the band. FBR: Looking at the number of solo albums Omar makes, he's clearly constantly writing. In terms of songs, how does he differentiate what's for one of his own records and what's for the band? CBZ: Some stuff he just feels passionately about, and that's for Volta. Or I'll stick my head around the door and ask if we can use something for the band. FBR: And can we expect a Cedric solo album any time soon? CBZ: Yeah, there's a lot of music that's ready. I just need to get around to singing on all of it. I've been working a lot with a friend of mine called Deantoni Parks, a drummer who's spent time with like, Tom Waits and John Cale. He plays in this band Kudu who are pretty much a modern version of Vanity Sticks, and he toured with Volta for a while. Omar's made a couple of electronic records with him. He's known as like the live drummer that can sound like a machine. FBR: There's that sort of electronic sound that comes through subtly on Octahedron, especially on tracks like Copernicus...an almost '90s Warp vibe in parts. Can we expect more of that on future Mars Volta stuff? CBZ: Yeah, I'd definitely push for more of that. FBR: Have you got any current musical recommendations for Drowned In Sound readers? CBZ: I dunno, I've just been really into my ballads...and anything that ends up in murder, somehow. You've got to take the love story down that road. A lot of time that's just how it ends up.... And I like a lot of dancehall, except the homophobic element of it. I mean, I love to dance to it, but I can't dance when the hypocrisy of the statement 'one love' excludes certain types of people. FBR: What about the live shows for this record? Are they going to be lighter too? CBZ: I reckon we'll play the majority of the record and then we'll probably end the set with some of the older stuff that we can include improvisation on. I think the game plan is to play all the new stuff as individual songs, unless something opens up and we recognise it as a spot to fool around with. FBR: And after almost ten years in the band, do you think it'll be going for another ten? CBZ: Yeah definitely, especially being around the people in the band right now just excites me. Plus, to have as much time off as we've had from it...it's a good break to remind you what you love doing. I love it and I'll always love it. It's the one outlet I have that won't get me arrested or get me in trouble. I can get away with it. I don't know if I could collaborate with many other people. The closest thing I've found to like minded people is when we curated ATP. FBR: That was the first ATP I ever went to. It blew my mind, you had everything going on from Acid Mothers Temple to Saul Williams to Lydia Lunch to Peanut Butter Wolf... CBZ: I was so excited that everyone would even say yes to sharing the stage. Mastodon, Diamanda , Antony ...I felt like a little kid, and I don't even know if we deserved it, but I've always thought ours was the most diverse so far. Hopefully Barry will let us do it again... FBR: They'll probably be up for paying you a lot to reform 'At The Drive-In', like they did with Sleep at few weekends ago. CBZ: Oh yeah, they do that right? FBR: But I take it you probably won't be accepting any offers on that front any time soon? CBZ: I don't know what to say about that really. We've been making amends with a lot of the members and having some really good talks with them. And we've been trying to get our financial business in order because a lot of people have been ripping off that band really badly...as far as the business side goes. I wouldn't mind it. Y'know, it might happen, we just have to iron out a lot of personal things. A lot of it we've dealt with already and I've apologised for a lot of things I've said and the way it ended...we'll see what happens. The Mars Volta's fifth studio album, Octahedron is out on June 23 through Mercury. They also play live at the ICA, London on June 18 and return to play Somerset House on July 13. -Frederick Blood-Royale"
