The Mars Volta's "The Bedlam in Goliath" -- A Review.

This is the best The Mars Volta has released in a long time. Much like their other works (and possibly more so), this album will take a few listens for full appreciation. With it, though, comes the intensity that has been lacking on some of their recent stuff, and a sound that is on the whole less polished and more on the side of raw, tenacious music - in a good way. The reason why this album works is largely because of group's blending of the styles and methods that they've employed on their other 3 albums into one, (mostly) cohesive work. The mish-mash segmentation of songs present on Amputechture is here ('Metatron', 'Cavalletes'), as well as the more ethereal, drawn-out fusing of tracks and song sections found in Deloused and Fraces the Mute (Ouruborous, Iyllena). Thankfully, though, its handled with care this time, sparing us 4 minute segments of white noise between tracks.

Drummer Thomas Pridgen, new to the band, shows himself to be as much a badass as previous drummer John Theodore, although at times he seems to be overplaying, lacking some of the dynamic subtlety that Theodore brought to the band's sound. This is a minor thing, though, as it is not overtly present and, frankly, there are few moments in the album where such subtlety is really required. ('Soothsayer' is probably the biggest example of this critique.)

Every song on here is solid, and the album, as I said, is Volta's best release in a while - probably since their brilliant debut. If you're at all a fan, or want some music thats going to kick you in the face, Check it out!

Radiohead's In Rainbows -- A Review

The last we heard anything new from Radiohead was 2001's Hail to the Thief. The six year wait, the longest in their career, paid off - big time. The musicianship on this album is simply mind-blowing, and not in a technical way. This album is full of beautifully arranged and passionately performed music that tugs at those heart-strings without relying on stylistic bullshit or superficial complications. The songs are clean, simple, as Thom Yorke put it "embarrassingly minimal." Rather than using dense solos or diluted riffs, simple arpeggios create interesting harmonies ("Weird Fishes," "Jigsaw Falling into Place") and Yorke's famously expressive falsetto is as sharp as ever, soaring through the music and puncturing it at the just right moments ("Nude," "House of Cards") But don't be fooled though, the album does have it's harder moments. "Body Snatchers" and "Reckoner" are sometimes jagged, sometimes serene songs that accentuate this band's song-writing talent. Every note is handled with care - carefully placed and beautifully arranged, making for a masterful album.

One could gripe that there isn't really anything new happening here, but what I would argue is that this album is really a synthesis of the sound Radiohead has been crafting for the length of their long career. The straightforward, guitar-heavy songs of their older efforts The Bends and Ok Computer is present really throughout the album. The more derivative, abstract Radiohead of Kid A and beyond is present, though in the background on In Rainbows. "House of Cards," with it's beautiful guitar riffs and strange reverberations embodies what the band has achieved on this record: a quiet collaboration with it's own uniquely esoteric sound.

Because of this, I feel that this is really Radiohead's best release - although I even hesitate to make such a contentious statement. Nevertheless, whether you're an old fan or a first-time listener, this album is sure to blow your mind. I know it did to me.