The Mars Volta's Bedlam in Goliath:

Fans of progressive rock have always had a taste for the unique, and for the past five years none have fed their appetite more than The Mars Volta. Led by guitarist/composer Omar Rodriguez-Lopez and vocalist Cedric Bixler-Zavala, this eight-man band also features collaborator John Frusciante of the Red Hot Chili Peppers. With their 2003 debut, "Deloused in the Comatorium," which Guitar World has already seen fit to name the 55th greatest guitar album of all time, The Mars Volta abruptly cemented their place among the true greats of the genre. They have since released two additional studio albums, each more experimental than the last. Despite a lack of significant commercial success, they have become known for both their tremendous ability to attract droves of intensely dedicated fans and the heir of mysticism surrounding the band members.
The Bedlam in Goliath, The Mars Volta's fourth studio album, was released in the U.S. on January 29. According to the band, the concept for this album evolved from the purchase of an archaic Ouija-type talking board by Rodriguez-Lopez on his travels in Jerusalem. The Ouija Board, later dubbed the "soothsayer," is blamed for streak of bad luck encountered during the recording process, which the band swears would have never have come to completion had Rodriguez-Lopez not disposed of the artifact and banned the mention of its name in the studio.
While Bedlam in Goliath is widely considered by critics to be a turn in a more conventional direction, its general sound is one that is bound to please the Mars Volta's existing fan base while also expanding it. Like the previous albums, there are strong elements of free jazz, hard thrashing rock, funk, and Latin flavor. However, unlike their previous works, Bedlam in goliath for the most part avoids drifting into space and occupying lower tempos. Right from the very start, this whole album is relatively fast paced, and relentlessly hard-hitting. As reflected by the cover art, designed by Jeff Jordan, the album also takes on a bit of an eastern theme which is most evident on the final track titled "Soothsayer," a brilliant attempt to convey the atmosphere from which the cursed Ouija Board supposedly came.
I'm sure that the Mars Volta will continue to push the boundaries of conventional music as long as they have the energy to do so. And one day, as fans and new listeners look back on their accomplishments, I'm willing to bet that The Bedlam in Goliath will remain one of their most appreciated efforts. Yet, I also believe that The Mars Volta, regardless of their undertakings, will always remain on the fringe, which is exactly where I would expect that they would like to remain.