The Mars Volta Frances The Mute

With no apologies, Frances the Mute -- The Mars Volta's new minute, The Mars Volta Frances The Mute, gratuitously subdivided, and feebly narrated album-- is for him. Archived from the original on March 4, The fifth and final song of the album, "Cassandra Gemini", clocking at 32 minutes and 32 seconds is to date the longest studio song released by The Mars Volta. The album was initially slated to have The Mars Volta Frances The Mute songs, however the title track "Frances the Mute" which was going to be the first song was left out due to time constraints. Retrieved February 28, Hidden categories: Pages with citations lacking titles Pages with citations having bare URLs All articles with dead external links Articles with dead external links from May Webarchive template wayback links CS1 maint: BOT: original-url status unknown Articles needing additional references from October All articles needing additional references Articles with short description Articles with hAudio microformats Track listings with input errors.

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Mastering Assistant Roger Lian. Mastered by Howie Weinberg. Release Date July 12, Frances the Mute The Mars Volta. April Archived from the original on March 4, Q : March Rolling Stone. Archived from the original on November 11, Music UK review". Hung Medien. Retrieved June 19, GfK Entertainment Charts. UK Albums Chart. Live Scabdates. Discography Tours Gold Standard Laboratories. Hidden categories: Pages with citations lacking titles Pages with citations having bare URLs All articles with dead external links Articles with dead external links from May Webarchive template wayback links CS1 maint: BOT: original-url status unknown Articles needing additional references from October All articles needing additional references Articles with short description Articles with hAudio microformats Track listings with input errors.

Namespaces Article Talk. Views Read Edit View history. By using this site, you agree to the Terms of Use and Privacy Policy. Progressive rock [1]. Gold Standard Laboratories , Universal , Strummer. Live Frances the Mute Scabdates A lot of it was [written] on the spot. Omar — because he collects TVs — would set up his wall of TVs again. So he would do that while I would record vocals, and that would be the main inspiration.

Rather than carrying over characteristics from the rough-edged indie-esque stylings of their former band, At the Drive-In, or plunging headfirst into the never-ending math equations of psilocybic canterbury prog, they artfully missed both marks: too sincere for indie but not quite prolix enough for prog; too melody-driven for prog but not repetitive enough for indie.

Listeners' initial bemusement enabled the band to transcend genre reducibility, which won De-Loused quick if hesitant points from critics and fans. But two years later, there are few other recent records for which putatively in-the-know listeners are so cautious of voicing approval. If you liked De-Loused or thought so, at least but often found yourself biting your tongue in the company of others, you were probably in the majority.

The Mars Volta drew attention for its technical proficiency, but behind all the meter-changes and 32nd-note polyrhythms, De-Loused featured some very strong melodies. The album's best moments registered in part because of the galling pomposity with which they were delivered, but the tripartite solos and Cedric Bixler Zavala's ornate vocal wallpaper wouldn't have held up without a backbone.

The band managed to ingratiate themselves with so many who would have otherwise relegated De-Loused to the realm of ironic pleasures because they had the tact and melodic good sense to make masturbation acceptable for a deceptively Victorian set of listeners.

Of course, there was always the kid with the green Ibanez who didn't know better and staged impromptu Omar Rodriguez-Lopez deification rituals.

With no apologies, Frances the Mute -- The Mars Volta's new minute, five-track, gratuitously subdivided, and feebly narrated album-- is for him.

Vocals Cedric Bixler-Zavala. Drums Jon Theodore. Percussion Marcel Rodriguez-Lopez. Mastering Assistant Roger Lian. Mastered by Howie Weinberg. Blender gave it four stars out of five and called it "a visceral, powerful muso's record, a nerve-jangling explosion in a drum clinic.

Club also gave it a positive review and said, "On the whole, the record sounds more like the blueprint for a stunning live show than like a viable document of a top-flight hard rock band. Other reviews are average, mixed or negative: Uncut gave it a score of three stars out of five and said it "smells like another concept album, is far too long and so pretentious as to be farcial.

Amazingly, it's also mighty entertaining. Unfortunately, 'Frances The Mute' is also awful. But until they rein in their astronomical pretension, they'll always look more important than they truly are. The album was initially slated to have six songs, however the title track "Frances the Mute" which was going to be the first song was left out due to time constraints. The lyrics for the title track still appeared on the inside of the CD jewel case tray, while the song itself was released on "The Widow" single.

The ending of "Frances the Mute" reprises the album's bookend, "Sarcophagi" filtered through radio static. The finalized track listing had five tracks and was intended to be released as such on all formats.

Because of disputes with Universal Records , "Cassandra Gemini" listed as "Cassandra Geminni" on most versions of the album [note 1] was arbitrarily split into eight tracks on the CD version, taking up tracks 5 through 12, since the band would otherwise only be paid an EP 's wages for a 5 track album. The splits also were not done according to the song's actual five movements. On digital music stores such as Amazon.

On vinyl, "Cassandra Gemini" was split between two sides, in the middle of "Faminepulse". Each side of vinyl save the final one ends with a locked groove , repeating either a sound effect or a bar of music endlessly until the needle is lifted.

The end of the first side and the start of the third side also contain the bookends of "L'Via L'Viaquez"; these small portions are indexed separately from both "The Widow" and "Miranda". From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. The Mars Volta. Retrieved February 28, Acclaimed Music.

Retrieved June 8, The Marble Shrine. Other portions of Frances the Mute are murky and distant, like field recordings from the ocean floor, while still others shift drastically between brittle acoustics and a stuttering, guitar-led volatility that threatens to crack open the earth. Its constant shifts mean the record is claustrophobic and even dizzying; it demands perseverance. But it's great when a blast of a trumpet cuts through a gloomy moment, and Bixler-Zavala's vocals are a thread to reality.

For example, while his lyrics for "Miranda That Ghost Just Isn't Holy Anymore" and "Widow" are mysterious poems, he sings them with a fervor that's immediately identifiable. That passion is evident throughout Frances the Mute ; it's the organic fever that was buried on Comatorium.

AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Solos are kept to a minimum; the band chug full-throttle on the same set of tires. Their most sophisticated algorithms are contained within sturdy sonic superstructures.

In this sense, they're more Mastodon than King Crimson-- only they kick about a third as much ass as a Dream Theater side project. Predictably monolithic and impossibly huge, Frances never stops chugging. Its five songs are divvied up in several, nearly indistinguishable movements, but the album moves wholly, as a gross, plodding, overstuffed mass. Opener "Cygnus Vismund Cygnus"-- which is said to tell the story of an HIV-positive male prostitute and drug addict born out of rape, but who knows?

At six minutes, "Widow"-- a yowling "November Rain"-style ballad-- is half the length as the next shortest track, and still at least two minutes too long. It, too, subdues into a wash of chattering electronics, as if an envoy to the next, equally inconsequential track.