The Mars Volta
Tremulant EP

These The Mars Volta are way too ahead. Someone wrote this phrase commenting on a review of theirs on this site, and intrigued, I decided to get their entire discography since it is quite short. After delving into their debut and the newly released album, I dedicated myself to the lighter "brick" of their discography, this EP called Tremulant. Whoever said that phrase was right: these The Mars Volta are really way too ahead. There is nothing more progressive than this band, their technique and their compositional flair (which Dream Theater would envy) are astounding, creating very complex sounds that can include 5 or more musical genres within a single track.

Cedric Bixler's voice reminiscent of Robert Plant (yet with great modulating ability), the guitar madness of Omar Rodriguez, Jon Theodore's imaginative drumming, the cadenced bass of Juan Aldarete de la Peña, and the support of Ikey Owens on keyboards are all ingredients that make the The Mars Volta recipe perfect. Released by Gold Standard Laboratories Records and produced by Alex Newport, Tremulant marks the true debut for the former At The Drive In members.

It kicks off with the electronic sounds intro of the opener "Cut That City" which after about two minutes explodes with effect-laden voice and instruments pushed to the max (the drums stand out) then shifts between relaxing pauses and rocket-like restarts. "Concertina" is a masterpiece: guitar and drums attack, followed by a melodic arpeggio interlude with a seductive voice, then transitioning to devastating distortion during the brief chorus, same arpeggio but with Spanish vocals, another chorus, and then it goes through schizophrenic interludes that couldn't be more progressive. It closes with "Eunuch Provocateur" and here the drums are once again a step above everything and everyone, although you can perceive solo bass parts and the usual madness of Omar. I might be bold in saying, but I see this song as if it were a solo by John "Bonzo" Bonham surrounded by all the instruments (including vocals). And this song is definitely appreciable too.

There are only three songs, but this work is a 5 out of 5, no discussion. Those who like progressive music will surely love it, those who have the patience (even though here the longest song is "only" 8.48) to listen to good music might like it, those who live by three-minute songs, three chords, or three words (I hope they are not sun, heart, and love) I recommend avoiding it, although it remains the easiest to listen to among The Mars Volta's works.
Progressive.