bibiane

don't like. He has excellent vocal potential. But the album feels like one of those records that looks back to the past; and does not look towards the future. To me, it's a recycling of great rock & roll. But in our times, it’s not enough.

no, no, it's not fair, I had almost finished a review on this album and... and... well, never mind. Even though for me this is one of the best live performances I've ever heard... Manuel on this record is... leaves you speechless. Fabulous.

too beautiful... finally a point of intersection with Rivo...

I was forced, then I didn't pay the ticket...

I am a guitarist. No, it's not an insult. I try to be a guitarist, but every time I hear this man play, I feel small, small, tiny...

I have always felt a great love and immense admiration for this band. In my opinion, the best Italian band of recent times, as well as my favorite Italian band.

and then there were those who said they were awful live...beautiful review

the best Italian group I have ever had, the honor and great joy of knowing

Alright, it’s not exactly a comment brimming with enthusiasm, but it’s the opinion of someone who, at first glance, didn’t feel completely taken by the band and this "progressive" sound, if you want to call it that. Then, if you listen to it again, and you still don’t like it, well, Nevermind!

Mars Volta, the evolution of the species from "comatorium" to live triumph. We weren't optimistic. What could the Mars Volta do live to change the opinion of those who hadn’t appreciated their, so far only, CD De-loused In The Comatorium? What At The Drive-In did after Relationship Of Command. In other words, a lot. Could they? Perhaps. Difficult. When the Mars Volta took to the noble stage of the Metro in Chicago, a historic venue, we only knew that the "progressive" aspect of the CD had hit us halfway: perhaps even less. And at the beginning, skepticism seemed justified: the band wandered around exhausted, as if they could no longer bear to play, nor the constant traveling. The bassist and drummer were hidden: like session musicians do from time to time, certainly not the stable members of a band. Everything seemed negative. But then, particularly following Bixler's exploits, the situation turned around, and at a certain point it became clear: the Mars Volta were even more fierce and genuine than At The Drive-In. Inertiatic ESP and Cicatriz ESP lost not a single gram of their energy and flames. Some kids had come down from the gallery and tried to climb on stage. Blixer and Lopez remained calm. But it was evident that the performance raised the quality level of the record. The final test with Televators: on CD it's a moment of reflection, something "atmospheric," live it was transformed into a cannon shot. Great: the band had emerged from the coma. From "Musica" September 4, 2003.