The roar of Rodriguez-Lopez and Bixler-Zavala's post-hardcore past is fully locked away, replaced by an equally powerful flair for expressive percussion, intricate vocal harmonies, and extended solos for electric guitar (as on the initial part of "Cygnus.Vismund Cygnus"). "She was a mink handjob in sarcophagus heels" "Don't be afraid when all the worms come crawlin out of your head" "they were scaling through an ice pick of abscess reckoning and when Miranda sang everyone turned away." - perhaps the only match for the cerebral weirdness and eventual beauty of Mars Volta's lyrics is their music itself. But Mute's printed lyrics are a helpful guide, a map of Mars that's meant to both direct and fascinate. There are no song breaks, making the track listing more of an outline. For 2005's Frances the Mute, Omar Rodriguez-Lopez and Cedric Bixler-Zavala worked principally with their touring band, but "joining the band for selected moments" are strings, horns, electronic programming, pals Flea and John Frusciante, and the coqui frogs of Puerto Rico.
But though it ultimately rewarded patience with stretches of unbuckled rock & roll genius, De-Loused in the Comatorium was also a maze-like and obtuse migraine dealer that made people frustrated and crazy. The Mars Volta's 2003 debut was a dense, experimental run-on sentence of science fiction and musical exploration.
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