Right off the bat, you will notice some changes in their sound. The opening is in your face, but with space-ish kinds of electronic sounds that permeate the album; but it adds that sonic flare or what Omar Rodríguez-López called in an interview "future punk". Actually, Noctourniquet should qualify as Post-Punk, except that the term already exists and is not the normal deconstruction of Punk like Post-Rock is a deconstruction of Rock. Furthermore, there is definitely less (not completely gone though to be sure) of a Progressive Rock feel, rhythmically I mean, not so much harmonically and melodically--the same old goodness that is The Mars Volta is still there and has never gone anywhere in all of its albums. I think there is just an attempt to be more raw in this effort. The whole thing has more of a laid bad feeling to the tempo, as if they had been listening to a lot of Raggae (totally minus the Raggae beat) or Trip Hop.
Conceptually, Noctourniquet is based on the idea of taking life for what it is worth and restoring faith in people that they can be artists in whatever they do, that it is not reserved for those with money or opportunity alone. The main influences came from the nursery rhyme, Solomon Gundy, and the Greek myth of Hyacinthu.
Some personnel changes took place over the course of the wait for Noctourniquet too, with keyboardist Ikey Owen, who has been on every LP to date except this (replaced by Marcel Rodríguez-López). Also, John Frusciante, a guitarist who had become quite the regular in studio I assume decided not to join the group this time around, because as Omar R-L pointed out, "John’s in a different place right now. He's in a place where he couldn't care less about putting things out, or about something being a product. He’s living by different standards right now with a different philosophy, so he doesn’t want to be a part of anything that he knows is going to end up being a product. A Mars Volta record definitely ends up being a product." I do not, however, consider The Mars Volta to be a product as so many other mainstream and sellout bands are. In fact, I would challenge anyone to name a band that has pushed the limits of their self-created genre so far as to be considered avante-garde (at least in my book).
Some highlights of the album include:
(1) "The Whip Hand": Awesome noises on this, a distorted synth (I think) comes in and takes over in the chorus and there is deep growling or grinding feeling to it all. Lots of higher falsetto vocals and duets as Francis the Mute always had.
(2) "Aegis": Totally sounds like a Radiohead progression to start and there are elements of Muse in there too with the arpeggiated synths. Great moments throughout.
(3) "Dyslexicon": This has some astounding guitar playing, I assume it is guitar, right from the start it just dives in and does not let up. Cool lyric references to a dictionary too, with the idea of a lexicon. One of the best songs on the album and most perhaps akin to their older work.
(4) "Empty Vessels Make the Loudest Sounds": This song seems to start the trend toward slower more dragging tempos that feel like they could burst at any moment. A slightly optimistic feel to this, even though the melody sort of wanders and leaves you uneasy.
(5) "The Malkin Jewel": Starts a little disjointed, but comes together really well, with a riotous middle/late section. Becomes cacophonous, which I like when The Mars Volta does.
(6) "Lapochka": There is sort of an open and closing feel to this, or wind coming and going, with the electronic sounds rising and falling subtlety in the background and the disjointed flavor that prevails in the syncopated beats and electronics.
(7) "In Absentia": The longest track on the album, has some different sections to it. The grungy lo-fi distortion is back in full swing here, with some other interesting sounds to boot. Sounds very metallic or construction yard-ish.
(8) "Imago": I just wonder about the title of the song, how it evokes an image. And to me "Imago" feels like looking at oneself or into a mirror. The music itself is that more optimistic uneasiness I am finding quite a trend with Noctourniquet.
(9) "Molochwalker": Starts reminiscent of "Cotipaxi" from Octahedron, and kicks it harder than anything else on the album. A solid throwback to previous albums, with a more recognizable vocal sound from Cedric Bixler-Zavala.
(10) "Trinkets Pale of Moon": Also reminds me of a previous song, "Asilos Magdalena" from Amputechture. The acoustic guitar and lullaby-ness is a very cool balance to the lo-fi noise that pops up mid way through.
(11) "Vedamalady": Actually has a melodic major key harmony with triadic (in 3rds, such as do mi sol all together) vocal harmony, not something I've ever heard from The Mars Volta before!
(12) "Noctourniquet": Some intense almost poly-rhythm going on in the drumming and this is the kind of The Mars Volta I love, busy and immersive. There are also moments enhanced electronically that are very interesting and new for The Mars Volta in timbre.
(13) "Zed and Two Naughts": Starts off sounding like bubbles, but quickly morphs into a heavier driving song with nice drumming, synth chords shifting and chorus sections that contain excellent energy and electricity. By far one of the best songs, and it is a single.
Gotta spend some time with Noctourniquet, get to know The Mars Volta and experience a listening journey that is unrivaled by maybe no one but Radiohead (though it is hard to compare their respective genres, nonetheless elite company). Hope this all does the record justice. Check out the entire stream as provided earlier in the post! Enjoy!
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