The Bottom Line

Issue date: 10/11/06 Section: Music

Amputechture opens with a weird distant synth and the sound of clanging bells while moving into the bluesy and drum-less "Vicarious Atonement". "This track is a slow-moving, meditative song with a twisting guitar riff. Just when it seems like it's about to go into a full-blown rock song, it holds back. Everything from brass horns to strings and just plain noise are woven into the unpredictable mass of guitar, vocals and Latin/jazz percussion. "Vicarious Atonement", "Meccamputechture" and "Viscera Eyes" each has a noticeably clipped end with no transition at all leaving the listener to wonder if it was intentional. The music is much more controlled; the riffs and frenetic drums tend to be on the forefront, but they're all tangled up with saxophone, eerie keyboard, and unidentifiable sound effects. But the band also shows that they can manage quieter songs, like the ones that are made up of acoustic guitar. These have a quiet, striking quality that is entirely different. Cedric Bixler-Zavala's voice is always recognizable, sounding distressed and a little wild. The drumming on this album is incredible; Jon Theodore's departure will be a great loss to this band. Amputechture has a little bit of an anticlimactic ending, with the slow and reflective sitar-tinged "El Cervio Vulnerado"; as a song it's beautiful but would be better received if located in the middle of the album. The Mars Volta is more contemplative than they've ever been which is likely a big turn-off to more market-driven fans.

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