Amputechture : The Mars Volta : Review : Rolling Stone

The long version: Cedric Bixler-Zavala and Omar Rodriguez-Lopez dissolved At the Drive-In, the most promising punk-rock band of the late Nineties, then formed a sprawling progressive-rock ensemble that recorded two albums composed of frenetic multipart suites at a time when doing so amounted to commercial suicide. The short version: The Mars Volta got away with murder.

But on the band's new Amputechture, there's no such thing as the short version. Singer Bixler-Zavala and guitarist Rodriguez-Lopez work in the intimidating, uncompromising tradition of mid-Seventies Yes and King Crimson: Three songs here exceed ten minutes and are crammed with quantum-physics-level time signatures, battle-to-the-death jousts between guitar and horns and Bixler-Zavala's hummingbird keening. But where the music of those classic Bach-rockers had moments of pastoral clarity, the Mars Volta favor unrelenting density, often through free-jazz clatter and Afro-Cuban percussion onslaughts.

In true mid-Seventies mode, Amputechture is split into halves, and a sedate track introduces three epics. It's on the second half where the Mars Volta catch fire. The lovely ballad "Asilos Magdalena" is followed by "Viscera Eyes," where Rodriguez-Lopez and guest guitarist (and Yes fanatic) John Frusciante melt their fret boards like Robert Fripp. In "Day of the Baphomets," a furious salvo of percussion interrupts a vicious, vintage jam that could have been on Larks' Tongues in Aspic.

Just a few years ago, it was inconceivable that one of the best American rock bands would make its name on updating prog-rock. But then, what distinguishes most of the best rock bands from the ordinary ones is fearlessness, and the Mars Volta have no shortage of that.