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Interviste e articoli, su Amputechture

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Sandoz
CAT_IMG Posted on 8/7/2006, 13:55




Qui articoli e quant'altro sia collegato con l'uscita di Amputechture sperando di poter leggere presto qualche recensione degna di nota.

Per ora questo articoletto di Billboard, niente che non sia già noto.

trovato sulla pagina myspace dei mars volta da cui babs ha gentilmente postato le foto.


CITAZIONE
Mars Volta Feeling 'Vicarious' On Third Album


June 30, 2006, 3:30 PM ET
Jonathan Cohen, N.Y.

The Mars Volta returns with a fresh dose of epic rock'n'roll on its third studio album, "Amputechture." The eight-track set is due Aug. 22 via Universal and opens with the seven-minute "Vicarious Atonement," the closest the group has ever come to a ballad.

The album then moves back to familiar expansive musical territory on the nearly 17-minute "Tetragrammaton," and also features two other tracks that clock in past the 11-minute mark, "Meccamputechture" and "Day of the Baphomets." The disc itself runs more than 76 minutes in length.

In addition to contributions from Red Hot Chili Peppers guitarist John Frusciante, "Amputechture" also features Paul Hinojos' first studio work with the Mars Volta since joining as a touring musician in 2005. Hinojos previously played with Mars Volta principals Cedric Bixler-Zavala and Omar Rodriguez-Lopez in At The Drive-In.

"Amputechture" is the follow-up to 2005's "Frances the Mute," which debuted at a career-best No. 4 on The Billboard 200 and has sold nearly 465,000 copies in the United States, according to Nielsen SoundScan.

The Mars Volta will support the Red Hot Chili Peppers on its upcoming North American tour, which opens Aug. 11 in Portland, Ore.


Here is the track list for "Amputechture":

"Vicarious Atonement"
"Tetragrammaton"
"Vermicide"
"Meccamputechture"
"Asilos Magdalena"
"Viscera Eyes"
"Day of the Baphomets"
"El Ciervo Vulnerado"

 
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CAT_IMG Posted on 26/7/2006, 11:36

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halorama
CAT_IMG Posted on 28/7/2006, 01:44




dall'articolo di MTV:

CITAZIONE
This fall, the Mars Volta will open for the Chili Peppers on the band's North American tour, set to kick off August 11 in Portland, Oregon, and conclude November 5 in St. Paul, Minnesota (see "Red Hot Chili Peppers Reveal Stadium Arcadium Tour Dates"). Afterward, Bixler-Zavala said the Volta will stage their own U.S. headlining tour, which should commence before year's end, with dates running well into 2007.

cooooosa? e l'europa?
pieeeeerooooooooo?!?
_______________

CITAZIONE (cedric @ ernano,?@0000)
Amputechture is my personal way of describing enlightenment

ed anche stavolta

CITAZIONE (cedric @ nanerottolo,sisi@??)
We took an approach on this album of not letting everyone know what's going on with the music," Bixler-Zavala said. "Everyone went in and recorded their part right then and there. Frusciante learned his part five minutes before we'd go in to record it, and the entire album was recorded in big chunks. It's the closest thing to improvisation we can do.

 
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Walkabout
CAT_IMG Posted on 29/7/2006, 13:22




CITAZIONE (halorama @ 28/7/2006, 02:44)
dall'articolo di MTV:

CITAZIONE
This fall, the Mars Volta will open for the Chili Peppers on the band's North American tour, set to kick off August 11 in Portland, Oregon, and conclude November 5 in St. Paul, Minnesota (see "Red Hot Chili Peppers Reveal Stadium Arcadium Tour Dates"). Afterward, Bixler-Zavala said the Volta will stage their own U.S. headlining tour, which should commence before year's end, with dates running well into 2007.

cooooosa? e l'europa?
pieeeeerooooooooo?!?

tranqui :)

l'intero articolo di mtv.com

CITAZIONE
Mars Volta's Amputechture Inspired By Immigrant Marches, Possessed Nuns
07.25.2006 3:15 PM EDT

Band goes conceptual again on Frances the Mute follow-up.
Mars Volta
Photo: Alfred Jansen

The Mars Volta revived the concept album in 2005 with their cerebral opus Frances the Mute. The epic LP centered on the thoughts of a man seeking out his adopted parents.

Those musings were contained within a diary discovered by former Volta bandmate Jeremy Ward while he was employed as a repo man. Before Ward's 2003 death from an apparent overdose, he took it upon himself to finish the unknown writer's work. The band's frontman, Cedric Bixler-Zavala, later used the writings as a blueprint of sorts for Frances (see "Mars Volta's Conceptual Frances The Mute Speaks Volumes").

For the Volta's forthcoming conceptual offering, Amputechture, which hits stores September 12, Bixler-Zavala didn't rely on just one source of inspiration for his lyrics — there was plenty on his mind this time around.

"It's all loose, really," he explained. "I love the way that [Rod Serling's 1970s series] 'Night Gallery' had that common thread that it was a gallery, and every painting told a different story. I guess I'd like that to be true of this album, too. The subject matter's all different, but [the songs] do all come together in a strange way. Every song would be a different episode that kind of relates in the way that [Paul Thomas Anderson's 1999 film] 'Magnolia' has all these different characters [who] all come back together in the end.

"There's the subject of the immigrant marches that were happening here," Bixler-Zavala continued. "And there were things I saw on the news, like the story about a woman who was killed by this priest because supposedly she was possessed."

That woman was a 23-year-old Romanian nun named Maricica Irina Cornici, who, according to news reports, believed she heard the devil talking to her. A monk bound Cornici to a cross, gagged her with a towel and left her in a dank room for three days without food. She died of suffocation and dehydration more than a year ago.

"That was sort of an inspiration to write about the Western phenomenon of incarcerating somebody if you think they're crazy, whereas in some parts of the world, like in South America, people like this woman would be considered a shaman," the singer said.

But that's not where it ends.

"This album's a commentary about the fear of God instead of the love of God, which goes hand-in-hand with Catholicism," he said. "To me, religion is the reason there is so much conflict in this world, and I think it's just so unnecessary to believe in this blue-eyed, white-bearded, white-haired God. Amputechture is my personal way of describing enlightenment, or just the celebration of this person who is a shaman and not a crazy person. It's about the pineal gland and how it has certain elements that mimic a DMT experience, and how we can come up with cures for cancer and AIDS if we're more in tune with what's going on in the rainforest."

Bixler-Zavala says the Volta started recording Amputechture last year while on tour with System of a Down (see "System Of A Down/ Mars Volta Tour Dates Announced"). Guitarist Omar Rodriguez-Lopez produced the LP, which features eight ethereal tracks.

"We're excited about this album, because I think a lot of people expected us to rest on Frances and keep promoting that," Bixler-Zavala said. "It's great to just keep going and throw new stuff out there. We have the kind of fanbase that demands that. But we're constantly working, or else we get bored."

Rodriguez-Lopez, who is working on music for Guillermo Arriaga's forthcoming film "The Night Buffalo" as well as his own, five-years-in-the-making movie, had a virtual library of ideas he brought to the table for Amputechture, which features the Red Hot Chili Peppers' John Frusciante playing the majority of the album's guitar parts.

"We took an approach on this album of not letting everyone know what's going on with the music," Bixler-Zavala said. "Everyone went in and recorded their part right then and there. Frusciante learned his part five minutes before we'd go in to record it, and the entire album was recorded in big chunks. It's the closest thing to improvisation we can do."

This fall, the Mars Volta will open for the Chili Peppers on the band's North American tour, set to kick off August 11 in Portland, Oregon, and conclude November 5 in St. Paul, Minnesota (see "Red Hot Chili Peppers Reveal Stadium Arcadium Tour Dates"). Afterward, Bixler-Zavala said the Volta will stage their own U.S. headlining tour, which should commence before year's end, with dates running well into 2007.

CITAZIONE
"To me, religion is the reason there's so much conflict in the world. Amputechture is my way of describing enlightenment." — The Mars Volta's Cedric Bixler-Zavala

— Chris Harris

 
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Sandoz
CAT_IMG Posted on 29/7/2006, 13:25




CITAZIONE
U.S. headlining tour, which should commence before year's end

a livello utilitaristico e sfacciatamente egoistico ottima notizia. per il resto rinnovo il "tranqui" di walk. tranquilli sul serio nè!
:D
 
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Sandoz
CAT_IMG Posted on 30/7/2006, 12:02




Eccola tradotta. Come al solito, se ci sono dubbi ditemelo. Grazie

CITAZIONE
Mars Volta's Amputechture Inspired By Immigrant Marches, Possessed Nuns
07.25.2006 3:15 PM EDT

Band goes conceptual again on Frances the Mute follow-up.
Mars Volta
Photo: Alfred Jansen

The Mars Volta revived the concept album in 2005 with their cerebral opus Frances the Mute. The epic LP centered on the thoughts of a man seeking out his adopted parents.

Those musings were contained within a diary discovered by former Volta bandmate Jeremy Ward while he was employed as a repo man. Before Ward's 2003 death from an apparent overdose, he took it upon himself to finish the unknown writer's work. The band's frontman, Cedric Bixler-Zavala, later used the writings as a blueprint of sorts for Frances (see "Mars Volta's Conceptual Frances The Mute Speaks Volumes").

For the Volta's forthcoming conceptual offering, Amputechture, which hits stores September 12, Bixler-Zavala didn't rely on just one source of inspiration for his lyrics — there was plenty on his mind this time around.

"It's all loose, really," he explained. "I love the way that [Rod Serling's 1970s series] 'Night Gallery' had that common thread that it was a gallery, and every painting told a different story. I guess I'd like that to be true of this album, too. The subject matter's all different, but [the songs] do all come together in a strange way. Every song would be a different episode that kind of relates in the way that [Paul Thomas Anderson's 1999 film] 'Magnolia' has all these different characters [who] all come back together in the end.

"There's the subject of the immigrant marches that were happening here," Bixler-Zavala continued. "And there were things I saw on the news, like the story about a woman who was killed by this priest because supposedly she was possessed."

That woman was a 23-year-old Romanian nun named Maricica Irina Cornici, who, according to news reports, believed she heard the devil talking to her. A monk bound Cornici to a cross, gagged her with a towel and left her in a dank room for three days without food. She died of suffocation and dehydration more than a year ago.

"That was sort of an inspiration to write about the Western phenomenon of incarcerating somebody if you think they're crazy, whereas in some parts of the world, like in South America, people like this woman would be considered a shaman," the singer said.

But that's not where it ends.

"This album's a commentary about the fear of God instead of the love of God, which goes hand-in-hand with Catholicism," he said. "To me, religion is the reason there is so much conflict in this world, and I think it's just so unnecessary to believe in this blue-eyed, white-bearded, white-haired God. Amputechture is my personal way of describing enlightenment, or just the celebration of this person who is a shaman and not a crazy person. It's about the pineal gland and how it has certain elements that mimic a DMT experience, and how we can come up with cures for cancer and AIDS if we're more in tune with what's going on in the rainforest."

Bixler-Zavala says the Volta started recording Amputechture last year while on tour with System of a Down (see "System Of A Down/ Mars Volta Tour Dates Announced"). Guitarist Omar Rodriguez-Lopez produced the LP, which features eight ethereal tracks.

"We're excited about this album, because I think a lot of people expected us to rest on Frances and keep promoting that," Bixler-Zavala said. "It's great to just keep going and throw new stuff out there. We have the kind of fanbase that demands that. But we're constantly working, or else we get bored."

Rodriguez-Lopez, who is working on music for Guillermo Arriaga's forthcoming film "The Night Buffalo" as well as his own, five-years-in-the-making movie, had a virtual library of ideas he brought to the table for Amputechture, which features the Red Hot Chili Peppers' John Frusciante playing the majority of the album's guitar parts.

"We took an approach on this album of not letting everyone know what's going on with the music," Bixler-Zavala said. "Everyone went in and recorded their part right then and there. Frusciante learned his part five minutes before we'd go in to record it, and the entire album was recorded in big chunks. It's the closest thing to improvisation we can do."

This fall, the Mars Volta will open for the Chili Peppers on the band's North American tour, set to kick off August 11 in Portland, Oregon, and conclude November 5 in St. Paul, Minnesota (see "Red Hot Chili Peppers Reveal Stadium Arcadium Tour Dates"). Afterward, Bixler-Zavala said the Volta will stage their own U.S. headlining tour, which should commence before year's end, with dates running well into 2007.

Amputechture, il nuovo disco dei Mars Volta ispirato alle marce di protesta degli immigrati e a suore possedute
Ancora una volta un lavoro concettuale per il seguito di Frances The mute.

Nel 2005 i Mars Volta hanno ridato nuova forza all'idea di concept album con Frances the mute, opera dal carattere altamente concettuale. Un album epico, imperniato sui pensieri di un uomo alla ricerca della propria famiglia.

Tali pensieri erano contenuti in un diario trovato da Jeremy Ward, uno dei primissimi membri del gruppo, mentre lavorava come repo-man. Prima di morire nel 2003, in seguito a una presunta overdose, Ward si era preso l'impegno di portare a compimento il lavoro di questo ignoto scrittore. Successivamente, Cedric Bixler Zavala usò questi scritti come canovaccio per Frances the mute.
Per Amputechture, il prossimo disco dei Mars Volta, nei negozi dal 12 settembre, Bixler non ha tratto spunto unicamente da una fonte per le sue canzoni ma da una gran quantità di stimoli diversi.

“ Sono tutti pezzi slegati in realtà “ ci spiega “ Amo il modo in cui [ e si riferisce in questo caso alla serie televisiva degli anni ’70 firmata da Rod Serling ] Night Gallery aveva un unico filo conduttore – la galleria appunto- dove ogni quadro però raccontava storie differenti. Mi piacerebbe se si potesse dire la stessa cosa anche di quest’album. Pur trattando argomenti differenti, ciononostante le canzoni si ricongiungono tutte, seguendo uno strano percorso. Ciascun pezzo dovrebbe rappresentare un episodio differente che si ricollega agli altri nello stesso modo in cui, nel finale, tutti i diversi personaggi di Magnolia ( il film del 1999, del regista Paul Thomas Anderson) si ricompattano.

“ Si parla delle marce di protesta degli immigrati che si sono verificate qui” prosegue Bixler-Zavala “ E ci sono anche fatti di cronaca, come la storia di una donna uccisa da un sacerdote poiché secondo le supposizioni di quest’ultimo era posseduta dal demonio.”

Si trattava di una suora rumena, una ragazza di ventitrè anni di nomeMaricica Irina Cornici . Stando alle fonti, la ragazza riferiva di aver sentito il diavolo che le parlava. Il frate, la legò ad una croce, la imbavagliò e la lasciò tre giorni senza cibo in una stanza umida. Morì per soffocamento e disidratazione, tutto questo più di un anno fa.

“ Quest’episodio è stato per me fonte di ispirazione per parlare del fenomeno, tutto occidentale, che porta a confinare qualcuno se lo si ritiene un folle, laddove invece in altre parti del mondo – il Sudamerica, per citare un esempio- persone come questa donna verrebbero ritenute veri e propri sciamani” dice il cantante.

Ma non finisce qui.

“ Quest’album descrive un sentimento di paura nei confronti di Dio piuttosto che d’amore per Lui, sentimento questo che va a braccetto col Cattolicesimo” e prosegue “Per quanto mi riguarda, la religione muove tutti i conflitti del mondo e ritengo del tutto inutile credere in questo Dio con gli occhi azzurri, la barba e i capelli bianchi. Amputechture è il mio personale modo di concepire e vivere la Rivelazione o, semplicemente, la celebrazione di questa donna che più che essere ritenuta una pazza dovrebbe essere considerata uno sciamano. Parla dell’epifisi , di come questa possieda una serie di elementi che riproducono una esperienza sotto DMT e di come potremmo anche essere in grado di trovare delle cure per il cancro o l’ Aids se solo ci mettessimo in sintonia vera con ciò che accade nella foresta pluviale. “

Bixler ci dice che le registrazioni di Amputechture cominciarono lo scorso anno durante la tournee di supporto ai System of a down. Il chitarrista Omar Rodriguez Lopez ha prodotto il disco, che comprende otto tracce eteree.

“ L’idea di questo disco ci eccitava particolarmente, penso che molti si sarebbero aspettati che ci concentrassimo su Frances the mute, continuando a promuoverlo. E invece lo stimolo vero è andare avanti a produrre nuovo materiale. Abbiamo dei fan che ce lo chiedono. Siamo costantemente al lavoro. Altrimenti ci stuferemmo subito”.


Rodriguez Lopez, che intanto è al lavoro per produrre le musiche di “ Night Buffalo “ il prossimo film di Guillermo Arriaga– oltrechè le musiche per il suo film, un progetto che si protrae ormai da cinque anni- ha apportato una serie di idee per Amputechture che si avvale, nella maggioranza dei pezzi, della chitarra di John Frusciante.

“ Il nostro modus operandi per questo disco si è basato sul non far sapere a nessuno come sarebbero state le musiche. Ciascuno dei musicisti arrivava e suonava la propria parte solo in quel preciso istante e in quel preciso luogo. Frusciante ha imparato le sue parti cinque minuti prima di entrare in sala di incisione e l’intero disco è stato registrato a grandi spezzoni. E’ quanto di più vicino all’improvvisazione potessimo fare.”


Quest’autunno i Mars Volta apriranno i concerti americani dei Red hot chili peppers a partire dalla data iniziale dell’11 agosto a Portland in Oregon fino a quella conclusiva a St. Paul, Minnesota, il 5 novembre. Dopodichè, secondo quanto affermato da Bixler- Zavala partirà la loro tournee americana, che dovrebbe prendere il via prima della fine dell’anno per continuare poi con una serie di date fino a 2007 inoltrato.


Qualcuno mi dice se i link esterni che ho messo vanno bene e se posso riportare la pagina del comatorio con i concerti americani dei red hot? Ah cercasi disperatamente chiunque sia in grado di approfondire i temi della ghiandola pineale( epifisi) e del DMT.
Please help.
:D
 
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Sandoz
CAT_IMG Posted on 4/8/2006, 10:12




CITAZIONE (Kitt @ 1/8/2006, 13:28)
CITAZIONE (Sandoz @ 30/7/2006, 13:02)
cercasi disperatamente chiunque sia in grado di approfondire i temi della ghiandola pineale( epifisi) e del DMT.
Please help.
:D

non mi dispiacerebbe affatto! :)

da Kerrang n°1119
CITAZIONE
"The Mars Volta have revealed to Kerrang! that their forth coming album 'Amputechture' is the band's "most technically interesting" work to date. The follow-up to 2005's critically acclaimed 'Frances The Mute' is an eight song, 76-minute epic, which was recorded in Los Angeles and produced by guitraist Omar Roduiguez-Lopez.
"I jokingly told someone that this was going to be a pop album," Rodriguez-Lopez laughs. "The whole process of making this album was really interesting from a technical point of view because it was written all over the world. We wrote stuff while on tour and while we were back home in El Paso, and it's all out of order. There's no unifying theme and no underlying story as there has been with our previous albums. It's just a mishmash of ideas and sounds!"
The record title was coined by the band's late sound manipulator Jeremy Michael Ward, who died of a heroin overdose in May 2003. "Jeremy made up the word 'Amputechture' a long time a go and we wanted to keep it for something special," he says. "To me 'Amputechture' is about getting rid of old traits or habits and getting ready to make way for new ones. I think it really fits the nature of this album."
'Amputechture' features Red Hot Chili Peppers guitarist John Fruiscante, as well as marking The Mars Volta studio debut for new guitarist Paul Hinojos-Gonzalez [former At The Drive-In bassist], who joined the band as a touring muscian in 2005.
"It's great that John wanted to help us out," confesses Rodriguez-Lopez. "And having Paul in the band opens up more possibilities for our sound. Personally speaking, it's also really great having him around because he makes it feel like home."
The Mars Volta are currently preparing for a mammoth Stateside arena tour with the Red Hot Chili Peppers in the autumn, but plan to bring the 'Amputechture' live experience to Europe for a headlining tour next spring.
"Hang in there!" grins Rodriguez-Lopez. "I'm really proud of this record. I've been working on it non-stop throughout this summer while everyone else was off having fun. I've enjoyed it, though. It keeps me focused and stops me getting in to trouble! It keeps me off drugs."
The Mars Volta's new album 'Amputechture' is out on September 11 via Universal/Island."

anche qui traducion..

CITAZIONE
I Mars Volta rivelano a Kerrang! che Amputechture, il loro prossimo album, sarà il loro lavoro "più interessante dal punto di vista tecnico". Nel 2005 Frances the mute era stato acclamato dalla critica e il suo seguito è un disco di 8 canzoni per 76 epici minuti, registrato a Los Angeles e prodotto dal chitarrista Omar Rodriguez Lopez.

" Scherzando, ho detto a qualcuno che questo sarebbe stato un disco pop" ci dice ridendo Omar Rodriguez Lopez."L'intero processo di creazione di quest'album è stato molto interessante specie da un punto di vista tecnico, perchè è stato scritto praticamente in tutto il mondo. Abbiamo scritto alcune parti mentre eravamo in tour, altre invece mentre eravamo a casa, ad El Paso, è totalmente disordinato. Manca un tema conduttore e non vi è una storia sottostante come accadeva nei dischi precedenti.E' semplicemente un miscuglio di idee e suoni!"
Il termine che da' il titolo al disco è stato coniato Jeremy Ward , soundmanipulator del gruppo , morto di overdose nel maggio 2003. " Tanto tempo fa Jeremy si inventò questa parola, 'Amputechture', e decidemmo di risparmiarla per qualcosa di speciale" ci dice Omar. " Per me 'Amputechture' significa sbarazzarsi di vecchi tratti e abitudini per esser pronti a lasciar spazio al cambiamento. Penso che si adatti perfettamente alla natura di quest'album".

'Amputechture'si avvale della collaborazione di John Frusciante dei Red Hot Chili Peppers segnando parallelamente il debutto del nuovo chitarrista Pablo Hinojos Gonzales( ai tempi bassista degli At the drive-in) unitosi alla band come turnista nel 2005.

" E' fantastico che John ci abbia voluto aiutare" ci confessa Omar "E la presenza di Paul nella band apre il nostro sound a nuove possibilità. E -ora parlo personalmente- è bello averlo vicino perchè questo ti fa sentire come se fossi a casa".

Attualmente i Mars Volta sono al lavoro per preparare una mastodontica tournèè negli stadi americani con i RHCP prevista per l'autunno, ma hanno programmato di presentare Amputechture live, in Europa, durante una tournèè da headliner questa primavera.

"State pronti!" sogghigna Rodriguez Lopez "Son veramente fiero di questo disco. C'ho lavorato senza sosta durante tutta l'estate mentre gli altri erano in giro a divertirsi. Ma a parte tutto, mi è piaciuto. Mi ha dato la possibilità di non staccare la concentrazione e di tenermi lontano dai casini. Mi ha tenuto alla larga dalla droga!".

'Amputechture' il nuovo disco dei Mars Volta uscirà l'11 settembre per l'etichetta Universal/ Island.

 
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CAT_IMG Posted on 4/8/2006, 14:16

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da Dimple Music

CITAZIONE
By Gary Graff
July 2006

So what does Amputechture mean?

Rodriguez-Lopez: "Amputechture" is just a word that was invented by our friend. The amputechture of the word [laughs] is "to amputate" and "architecture"-the word in and of itself is kind of describing itself, its own process. It's just something we really love the sound of; it makes so many images in the head of exactly what it can be. And we realized it was very fitting for the process of the group, because the approach is to try to cut out old parts to make way for new parts and just kind of get rid of certain things that we're used to doing in order to make room for brand new concepts.


Is there a thematic string like there was on Frances the Mute?

Rodriguez-Lopez: The theme of this album was to not have a theme, to approach it more as a series of vignettes or a series of stories whose only true unifying theme would be the voice in which they're being told. We were very inspired by Night Gallery; every episode is telling a different story, but there's still the introduction by Rod Serling and a certain feeling there.


What impact did it make to have Paul [Hinojos, a former At the Drive-In bandmate] as part of the recording process this time?

Rodriguez-Lopez: It made things a lot easier for me. The most important thing is Paul's place in our lives-Paul's personality, our friendship with Paul. Obviously we've been in another band with him for years, so there's just this familiarity and this comfort of being around him. And it really freed me up as the leader of the band, as the producer of the record. Between him and also having John Frusciante playing guitar, who essentially became a band member for the record, I was able to teach them their parts and then just sit behind the console and really listen to the sound of the band and have an objective view of what we were doing.


So are you trying to lure John away from the Chili Peppers?

Rodriguez-Lopez: [Laughs] Oh, I don't think that'll happen. But he's like an honorary member of our band. He's always welcome to be part of the band, in any way. He's so part of the energy of what this band is and gets along so well with everyone-I mean, he's my closest friend next to Cedric. He, as a person, is very Mars Volta. He's always around, and because of this we're in very subtle ways and very obvious ways always influencing each other and the directions of what we're doing with our bands.

 
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Sandoz
CAT_IMG Posted on 4/8/2006, 14:22




a breve ;)
 
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Walkabout
CAT_IMG Posted on 9/8/2006, 13:58




...

CITAZIONE
Mars Volta Share Bill, Guitarist With Red Hot Chili Peppers
Texas prog-rockers preview new material on tour
LAUREN GITLIN
Texas prog-rockers the Mars Volta will embark on a North American tour opening for the Red Hot Chili Peppers this Friday in Portland, Oregon. But the bill isn't the only thing the two bands are sharing. On the Mars Volta's latest disc, Amputechture (due September 19th), guitarist Omar Rodriguez-Lopez solicited his friend (and RHCP guitarist) John Frusciante to step in for him. "I've never thought of myself as a guitar player," explains Rodriguez-Lopez. "I don't like the guitar. I always felt like I got shafted and stuck with the instrument." This might come as a shock to fans, considering the band is perhaps best known for its moody, meandering guitar soundscapes. But with the exception of a few killer solos, Rodriguez-Lopez has stepped back from the lead-guitar position altogether, opting instead to play composer and musical director. "This is the role I've enjoyed the most -- shaping the drums, having a certain sound," he says. "I work individually with each and every band member. Once they get the notes and rhythm down, we talk about feel: 'Exactly like that, but it should sound a little more like it's underwater.'"

As the title suggests, the concept behind the album was "to cut certain things, to destroy the old in order to make way for the new," says Rodriguez-Lopez. "I would hate to have this band and to put all my energy into it and at the end of the day have us be known as 'the jam band' or 'the long song' band," he says. "There are no thirty-minute songs on this one." Still, most tracks clock in at eleven-plus minutes, and except for the surprisingly rollicking "Viscera Eyes" -- which was originally written for At the Drive-In, Rodriguez-Lopez's former band with Mars Volta vocalist Cedric Bixler -- the majority of songs adopt the same style the band built for its first two albums: grandiose, alien guitar and bass atmospherics that swirl around Bixler's nasally Robert Plant tremolo. "The band will always have a particular sound because I'm writing the music and Cedric's vocals are very distinct, but the more that we can do to steer ourselves toward new land, that's the main objective," says Rodriguez-Lopez. The album hits record stores on September 19th.

 
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Sandoz
CAT_IMG Posted on 19/8/2006, 18:28




a breve le traduzioni.

dal rocksound americano di settembre

CITAZIONE
Rock Sound: Interestingly, in the time since the album was completed, more line-up changes have commenced - this time in the shape of Jon Theodore leaving the drum stool. Ever since the band's earliest days, Theodore's astonishing work has been singled out for praise by both studied musos as well as the kind of people who wouldn't know a hi-hat from a top-hat, so his departure may seem worrying, but singer Cedric Bixler-Zavala is brutally honest about why the parting of ways had to happen.

Cedric: "Omar and I have different work ethic than he does. He's not so interested in the expansion of the group and the hours we like to spend in rehearsals", (he comment's quite bluntly and with a hint of annoyance in his voice.) "He wouldn't want to put anything more in than the minimal amount of effort, and we didn't want to be at the mercy of that. Some of us are put on this earth to do one thing and the extracurricular activities like women, sports and cars all come second. Jon liked all of those things too much for our liking and all of those things ironically would not have existed without us providing the outlet to be in The Mars Volta. When we asked him to play with us, he was working as a waiter and serving politicians wine in Washington. Hopefully there won't be too much mud-sliding, but y'know......it is what it is".

Rock Sound:His grubby hands tell a clear tale; for all of Theodore's genuinely amazing work with the band, Bixler-Zavala's ill-feeling towards his attitude is palatable. But filling this crucial position now is Blake Fleming who, by the singer's reckoning, has more right to be in The Mars Volta than virtually anyone. Fleming came to the attention of Bixler-Zavala and Rodriguez-Lopez during their last days in At The Drive-In, while he was playing in the obscure, NY free-jazz / punk outfit Laddio Bolocko, who proved to be something of an inspiration.

Cedric:"Blake was actually in the very first incarnation of The Mars Volta for a little while but watching him in Laddio Bolocko was definitely a catalyst for me and Omar quitting At The Drive-In. They totally floored us because they were on of the few bands who could combine a look and play really amazing music. I always felt so fucking guilty because after seeing them, I had to go on tour in England with ATD-I, where we were so fucking hyped. I felt like such a fraud because that seemed like a sidestep for me, whereas Laddio Bolocko reminded me of where I needed to be. They were so intense but they never got any recognition."

dal comatorio, postato da un utente fonte non specificata
CITAZIONE
I try to keep it short even if there is so much news in this mag.
1. Cedric is singing the chorus in Mastodon song called "siberian divide" and Ikey plays keys on the same record in a song called "pendolous skin"
2. next to the interview of ced and omar(which I will do later completely if it hasn´t already been done) there is a list called "occult world travellers" that includes stuff you need to understand "Amputechure"

Yoko Ono: cedric says:" that everybody likes to say that she is guilty for the Beatles end, but she could have made them bigger than their "white album" and punk would have been 20 years earlier. Yoko ono was Riot Grrrl before Riot Grrrrl, Avantgarde before avantgarde-and blues she was too"
He names "Approximately Infinite Universe" 1973

Pasolini : Omar likes Pier Paolo Pasolini the italian director. But more for his lyrical work than for his films. he says that especially the atmosphere in his "roman poems" touched him.

Anthony Page: "I never promised you a rose garden" 1977 and Samuel Fullers "Shock Corridor" a b-movie from 1963" both films are an important influence for the main-"Topic" in Amputechture

Mati Klarwein: omar quotes his unfinished picture from 2002 (Clone) which could have been an alternative for the actual cover

Helena Blavatsky: Isis unveiled. cedrics favourite book for months

Reiner Werner Fassbinder: Omar says that he again was an important influence for the album and that "he has made so many films, that I- if i go easy on it-will have enough inspiration for another dozen of albums. the next one is "Berlin, Alexanderplatz"."

Robert Williams: postsurreal painter quoted by cedric

The Persuaders: omar owns a singles-collection by them and says "it sounds like sunday without work" and is a good thing against high blood pressure.



Edited by Walkabout - 19/8/2006, 19:48
 
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Walkabout
CAT_IMG Posted on 19/8/2006, 19:13




ho messo in grassetto le domande

la fonte è il magazine tedesco "vision" di settembre 2006, ma evidentemente non leggi :)
 
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Sandoz
CAT_IMG Posted on 19/8/2006, 23:52




CITAZIONE
Visions: Which question do you expect first when you are in a band that made 3 studio-albums and a live-album in 3 years?
Omar Rodriguez: Eh, the question for the name of our new record-“Amputechture”?
Visions: I want to talk about that later.
Rodriguez: Good then… I am helpless. I don’t know what to expect from interviews anyway. Some are good and some have charm of a plane crash. (Laughs)
Visions: Astonishingly how less sensation you make for the release of a new record
No announcement, no studio-reports - suddenly it is out and wants to be heard. Why this secretive behaviour? To surprise?.

Rodriguez: Even not this. The truth is, I don’t think about it. My aim is not the release of a new record but the playing in. When we are not touring, my whole exists of nothing different. I wake up, work till late in the night and sleep in the studio. Day in, day out.
Visions: Thought about, to do it like your co-producer John Frusciante? He has a studio in his house, so: from bed to sound mixer in one minute….
Rodriguez: Oh, I already have this. Even (the second album) Frances The Mute arose there. I think that corresponds to my temperament. I am an unconventional guy, I like to live withdrawn.
Visions: The Mars Volta is a lot about understatement, isn’t it?
Rodriguez: Under-what?
Visions: I think for example your defensive dealing with the press.
Rodriguez: I never saw it that way. But yes it is right, I like to keep things little. I like it when I can work alone; when nobody from the label tells me what to do. The bit of promotion we are doing are interviews past the end of making the record. Only yesterday a journalist noticed how less we are in magazines. We are continual making new records, are on tour and play for some thousand people. And then we are gone for the rest of the year.
Visions: Because of self-protection?
Rodriguez: That is not necessary. Take a magazine like Visions. You are focussed on music as itself, different than the magazines here in America or in the U.K... They would be embarrassed very fast, when you are not feeding them with gossip. They want to know which party you go to and with whom, whether you take drugs, who you are fucking. The whole soap-opera-reality-TV-thing. If you follow such criteria we are a band that is as boring as hell, because we -even if we would like to- can not serve with such things. The Mars Volta, the taboo topic. (Laughs)
Visions: Understatement and progressive rock are two words that you normally not combine spontaneously.
Rodriguez: It works, when you take “progressive” literally- to move forward, to go in distance from the last step- and to keep in mind: the difference between us and prog-bands of the 70´s is that the genre was based on technique, being a confirmed musician and all that shit. We are inspired by punk. Punk and prog are always seen as an opposite, but that is absurd, to set yourself those limits. Our generation has the unbeatable advantage, that there was so much before, where we can take from: punk, prog, electro, artists of the “new music”
Visions: There is a Mars-Volta-forum, where somebody started a survey: “how will you listen to “Amputechture” for the first time? “Sober, coffee, stoned, mushrooms or other drugs”. Which option is yours?
Rodriguez: Oh god I hope those guys don’t get up to mischief. (Laughs)
Visions: Nearly ¾ voted for sober.
Rodriguez: That is calming. A good choice.
Vision: Which would be yours?
Rodriguez: Alone, in the dark, with some good headphones. I hear music that way.
Visions: Do you hear your records after they are made.
Rodriguez: One time, then never again.
Visions: Amputechture begins with an epic, heavy improvisation piece about 14 minutes. Why is somebody doing such things? Sure not because of consideration for the listener.
Rodriguez: (Laughs). No. But the listener is no factor that plays a role for me while making a record. If this song blocks the entry for someone it is okay. So they haven’t really listened. Some need a soft intro some need to jump in the shark fishpond.
Visions: Imagine you wouldn’t be creator and just the listener of your music. What would you think if a song goes higher and higher and in the middle of it there is an abrupt ending- like it is happening twice on “Amputechture”?Rodriguez: I would think that something isn’t okay with the cd. (Laughs) But then when I notice that it was on purpose, I would like it. As a kid I loved Zappas “Sheik Yerbouti”, because the same happened.
Visions: Are you playing with listeners?
Rodriguez: Yes, but with those that are Cedric and me. It is simply one of a lot of possibilities to end a song.
Visions: And the most radical, too. Does “Amputechture” mean - construction for deconstruction; to write songs to destroy them in the most beautiful moment?
Rodriguez: It was not more then a game with words. Intuition. Now I see that the title was a lucky choice. Many interpret him like you do.
Visions: Why is the Mars Volta unable to write pop songs?
Rodriguez: (Laughs) Do you know I am experienced a lot in that. I played in punk bands and wrote songs with a Verse-Chorus-Verse-Chorus pattern for years. Basically that was pop. I am just tired of doing that- exactly as I will be tired of what I do now. Who knows, maybe the pop song will be the only possible form that is left.
Visions: I am a charts inclined radio-listener and give Amputechture three minutes. Which do you recommend?
Rodriguez: Three minutes?! Holy fuck, I can not do that! If you have not more time, please go. Don’t stay, don’t listen!
Visions: What is the worst thing that could happen to the Mars Volta?
Rodriguez: That we become Yes, that would be the MCA. They did great music in the 70´s but then they wanted to be “The Police”
Visions: “Owner of a lonely heart”?Rodriguez: Shit how much I hate that song. The same for Phil Collins und Genesis: good drummer, great first record and then….to hell, what happened?!
Visions: You are guitarist, songwriter, and speaker of the band and now even producer of the Mars Volta. Are you doing too much?
Rodriguez: No, I enjoy it. Every single aspect of the music: the creating, the writing down, the recording, the listening, the watching of the traces on the computer. I need to know where every note and every tone comes from. That’s how I am - a messie. I can not separate from things; my whole room is full of rubbish. There are pieces of paper which I wrote on when I was 15. It is the same with the music: I have everything in my head; there is no more space left.
Visions: What keeps you away from doing stupid things?
Rodriguez: Right. When we record I have high blood pressure for weeks. That is a good substitute for drugs, for my old lifestyle. This doggedness is my new addiction.
Visions: What means Simplicity for a man who says about himself: “I like to keep things little”, but is writing extreme complex music at the same time.
Rodriguez. Simplicity means that you can watch things without the need to question it and that you understand it too. It is a form of psycho-communication. You go into the shop and you see this lamp, this guitar, this TV - and you know: “That’s it!” You meet a couple on the street and think: “Clear, he with her, she with him, that makes sense!”
Visions: Where does a complex talented band/musician like the Mars Volta have limits?
Rodriguez: I think there are two limits- but one is no real limit, because it has to do with our personalities: We could make whatever we want to, we would never sound like somebody else. You would hear Cedrics voice when he is 60…. The only real limit for us is the money.
Visions: What would you do if you would have more?
Rodriguez: We could buy studios all over the world, without looking at someoneelses timetable. We could engage orchestra’s und turn round our music a bit.
Visions: Was there a moment, when you were close to end the Mars Volta?
Rodriguez: Let’s say there were a lot of moments when I was ready to finish to recording process of an album. (Laughs) When you in the fourth week in the studio and you see that you have finished only the half, there is no light at the end of the tunnel, and then you notice moments where you swear to yourself:” Fuck it, it’s enough! I stop it.” Good that I am not a very consistent guy in such things….

And here is the second part of of the interview between both interiews there is a short paragraph were it is mentioned that cedric and omar are not living in the same appartement anymore and that the interview with cedric was again made via telephone and one week after the omar interview.

Visions: The Mars Volta have chosen Jeff Jordan’s picture „Big Mutant“for the „Amputechture“-cover. Why is there no better one for “Amputechture”?
Cedric Bixler: What the three mans are holding, this half-covered woman-sculpture - that’s exactly how I see/imagine amputechture.
Visions: Yes?
Bixler: Yes! It has something religious, hasn’t it? Something very raised. The woman as itself has a very special meaning in many religions. Besides this I really like Jordan’s style, these visionary, Californian presence art.
Visions: Art seems to have an enormous influence to your work as a musician.
Bixler: Sure, even if it is a confused Graffiti on a house in lets say Sao Paolo. Have you seen Brazilian Graffiti? They are not those swanky Hip-Hop-takes; they look a bit like heathen runes. Hm. But sometimes they give me not very much. I have to be in the right mood for that.
Visions: And it should look modern?
Bixler: Not inevitable, but yes: There are my preferences. Jordan, Robert Williams. And Mati Klarwein, who made the artwork for Miles Davis´ “Bitches Brew”. Some call it pop-surrealism, others lowbrow- a more stupid word. For me it is simply art that is showing higher conditions of consciousness. They remember me of a time when I made acquaintance with psychoactive drugs and where I can not go back to. A memory for the good sides of the addiction - and for the dangerous ones, haha.
Vision: Is Cedric Bixler part of the inventory whenever a varnishing takes place next to L.A.?
Bixler: (Laughs) I wasn’t in one for a long time. The last time was Basquiat in the MOCA (Museum of Contemporary Art) in Los Angeles. To get into a picture in the public is not what I like to do. I love my private sphere, even if I have to use a print or something.
Visions: You could keep your money together to buy one…
Bixler: I often want to. But in the moment I am looking for a photo of Oscar Acosta.
Visions: The lawyer and drug gourmet that inspired Hunter S. Thompson for the book “Fear and Loathing in Las Vegas”
Bixler: Exactly. I am looking for a big picture that shows him in, eh yes, his working clothes.
There is great Photo: he in a white muscle-shirt, his rumen is hanging out, a worn out trouser, no shoes. That is exactly my definition of a star-lawyer. (Laughs)
Visions: Would you say that there is no text for you as an author that is more inspiring than a picture?
Bixler: A picture or a photo has basically more power, because it reaches you more direct. Words are abstract, pictures exact, even abstract ones.
Visions: “Amputechture” is the first album without a lyrical thread. Your debut “De-loused In The Comatorium” was about the life and suicide of Julio Venegas. “Frances was the “Farewell” for your dead former band member Jeremy Ward. What holds the story together this time?
Bixler: As we toured I saw a report on TV. In Romania a priest murdered a young nun that was alleged to be possessed by the devil. He put socks in her mouth and tortured her to death. After that I thought a lot, how we treat people in our society, just because we think they are crazy. We put them in jail and in other cultures they celebrate them. It is just a little step from exorcism in Romania to the south-American jungle, where shamans with an unbelievable connection/relation to nature live. They have the cure for 80% of the “incurable illnesses”, but it is our American mentality to destroy everything we are scared of.
Visions: If that’s your lyrical basis it stands in good tradition to former albums- it is very pessimistic.
Bixler: You need to create darkness if you want to know what light is. I don’t think live is full of happy ends. There is optimism but it grows out of the setbacks we get. Tragic is a strong motor.
Visions: It is said without the corset of a concept album you found the freedom to include insider jokes in your work. How does an Insider of the Mars Volta look like?
Bixler: That can be nearly everything. For example on the vinyl-version of our first EP you can read “we´ re all bad-ass actors”. It came that way: Omar and this guy Har Mar Superstar were at one of that horrible L.A.Partys of Andy Dick. Dick was surrounded by some 15-17 year old boys, who were providing to be of age. They thought to get a chance to play in a film and didn’t realize that they were only invited as groupies. Suddenly one of them noticed what was going on, got pissed of and started to talk to dick in a very upset tone:” Fuck this shit, I don’t need to be here! I’m a bad-ass actor!” HarMar laid his hand on the boy and said “Relax bro! We’re all bad-ass actors.” A great saying, not only as a side cut for L.A. This sentence travelled a long time with us.
Visions: Insider jokes are an indicator. Unity and intimacy play a big role for the Mars Volta.
Bixler: and they are hard to share with the audience. Even if we are not the kind of band that likes shake hands and meet&greets-fan actions, we are trying to be as close as possible to them. We don’t want to be snobs. But there is limit/border. Because of that you don’t know much about our private life. I always think when you can talk to the author of a book the poet dies.
Visions: What does that mean?
Bixler: Take, William Burroughs. I love him as an author and want to keep him in mind as that: a magician with words- not as a human being that goes home to drink tea after writing. I am not interested in Burroughs as a human. Too deep looks inside him would take the power of his work. I would be bashful when I had to judge someone who shot his wife.
Visions: When we talk about intimacy we don’t need to talk about the listeners. Presumable it is hard for the other band members to see the close relation between you and Omar.
Bixler: Sure cause our- especially Omar’s- philosophy is to keep songs and ideas as long as possible in the dark. We don’t want to see the band come along in the songs when we record them, it would sound too much rehearsed. Like Brian Eno said: “Honour your faults as hidden intention!” The best gigs are the ones, that don’t work very well.
Visions: Has Omar ever made a song you couldn’t find any words.
Bixler: No, writing is always easy. I often start singing gibberish, till words and sentences are getting more and more form. It is as if you have a big piece of fabric and then to start like a measure tailor. It would be easier for me when I could rehearse more intensive. But Omar wants it that way, he like it spontaneous.
Vision: You were very lucky to be a part of the Mars Volta, when ….
Bixler: we had the opportunity to host the ATP. We could make the line up the way we wanted it to be, like a mix tape in live. Mastodon, CocoRosie, Dungeon, JR Ewing, Anthony and the Johnsons- bands, which would under different conditions never, play a festival together. Holger (Czukay, Can) gave me a little piece of paper: “Thanks to let me play at your festival!” And it even wasn’t our festival…
Visions: You feel ashamed when thinking of your time with ATDI. In our last interview you said you don’t feel very well when you hear the old records. Is it the same with earlier Mars Volta?Bixler: I definitely hear indecisiveness. We wanted to feel separate from ATDI, but couldn’t really.
Visions: But…
Bixler: … it sounds less naïve, less young, less high school. People often ask questions regarding ATDI. They tell me how inspiring they were and how new it was. That makes me feel ashamed…
Visions: Why?
Bixler: Because we were not- new. Listen to bands like Drive Like Jehu, Antioch Arrow or Clikatat Ikatowi. They were long before us. We took a lot of them. They earn our success, but we were the one that were the ones that MTV made the new Nirvana with.
Bixler: I like it more to be honest than to be proud. Every time I met Sonny Kay, the guy that makes our vinyl attractive I have to think of the fact that he once played in a band called “Angel Hair”. The first song of their debut is practically “Arcarsenal” from ATDI. I listened to their song and made my own version of it. ATDI were not the strong band everybody thinks they are, they could be very weak.
Visions: What’s the weakest point of TMV?
Bixler: Every member, who doesn’t trust Omar and me blind.
Musicians who we have to quit, because they don’t want to work as hard as the rest of us.
Visions: The departure of Jon...Bixler: ...was exactly what I said above. God save SOAD for letting us have enough space to work on new material hours before the gig started. Till the afternoon we were sitting together, to record. While we were doing that, Jon played video games instead or was sleeping very long, because he made too much party till 5 o’clock in the morning the evening before. Jon loved everything despite working.
Visions: For that reason you really sticked together for a damn long time!
Bixler: God also save Jon, but 5 years of his laziness is enough, what I can take.
Some people might really tell us we are crazy for quitting such a drummer,
but TMV is more than the great drumming of Jon Theodore!



Edited by Walkabout - 20/8/2006, 01:24
 
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Walkabout
CAT_IMG Posted on 23/8/2006, 00:18




Guitar World di settembre 2006

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68 replies since 8/7/2006, 13:55   430 views
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