This is a collaboration between Omar Rodriguez Lopez & Jeremy Michael Ward.Both of which very important to birth and evolution of The Mars Volta.Omar of course the primary song writer and group director for the Volta and Jeremy who provided the ambient and soundscape effects for De-loused In Comatorium and their EP Tremulant contributing to a more depthful and atmospherical Volta. Unfortunately Ward died from a heroin overdose at the age of 27 a month before the release of their debut De-loused and in tribute five years later Omar produced and released this album which originally was never going to be released was to be only to be shared around their circle of friends. Now It's important to say this is certainly not progressive rock in any shape or form and I think people can only be dissapointed by this record if they have no knowledge or awareness of Avant Garde,Music concrete and other such noise music.The only relevant comparison I can associate this album with would be avant composer Karlheinz Stockhausen.Without this knowledge you may be lost.This album consists of such effects and sounds which bare little resemblance to melody or structure but explorations of sounds and atmospherics providing themes and moods.As far as I can tell there is no feature of standard rock instruments such as guitar and drums and may just feature keyboards and modulators. Personally being interested in such music I find this album very intriguing and was ultimately impressed.Pretentious noise?possibly.But fantastic noise none the less.
This is an epic collaboration between two important figure in the progressive rock scene,from two different decades.Damo Suzuki best known as the one of the vocalists from Can who appeared on perhaps their best known albums during the 1970's (Future Days,Ege Bamyasi & Tago Mago) & Omar Rodriguez Lopez best known as the guitarist and band leader of The Mars Volta.
First of all though it's titled as a collaboration album,it's pretty clear Damo had no control over the quality of music as the musicians are from previous Omar solo recordings.But that being said this particular line-up is my personal favourite Omar Rodriguez Lopez group and certainly the most jazz inspired.Now the scene has been set it's easier to begin to understand the album and it's direction.Please Heat Eventually is one long song which has been split into two separate tracks (Each one spanning a side of the record)and within each separate track three parts or divisions of the song.The result one twenty five minute song.It's clear Omar & Damo shares the same ambitions of the experimental and improvisational sides of music which is clearly heard on this recording..The song itself is wonderful combination and overall musical acid trip fans would expect from the two.Essentially it's one long jam with Damo improvising lyrics "sung in no one particular language" over psychedelic themes provided by Omars group featuring lengthy guitar solos,fusion rhythms and powerful performances from Adrián Terrazas-González on saxophone & bass Clarinet. But to confuse us Omar & Damo fans even more.The album was recorded into sections some live and some studio this can be quite noticeable as most of the musical themes are evolved and explored some can end abruptly,which is very possibly the merging of the two different recording settings.But to say that as a downfall of the album is really splitting hairs.
The true downfall and the unfortunate result of my low ratings is mainly me abiding by the prog archives rating guide.As this is only released as vinyl and only contains one song.I would have to put this amongst the collectors/fans which only has the rating of two stars.But to redeem myself and the album I would recommend the 2 disc Japanese edition of Omar Rodriguez Lopez's Se Dice Bisonte, No Bùfalo which not only contains the fantastic original album with an instrumental version of this song.It also contains Please Heat Eventually in full on the bonus disc.
Great album,unfortunate format.
Some extremely short,rare and bad video quality footage of the two performing.
This is Omar's Second album and his first out of five in the Amsterdam series in which he began recording them in the Netherlands around 2005.Other albums that were to follow in the Amsterdam series were Se Dice Bisonte, No Bùfalo ,The Apocalypse Inside of an Orange,Calibration and Megaritual.
Simultaneously this is the first album for the Omar Rodriguez Lopez Quintet in which most of the Amsterdam series albums were recorded.An important factor to note,is whilst listening to these albums.You'll notice they follow more of a similar style and pattern in comparison to other Omar releases.Others tend to experiment more with loose jamming and incorporate instruments such as synthesizers,drum loops and spacey sound effects.which don't usually feature highly within the quintet,making other releases have a far more electronic and psychedelic nature.
But this is not the case with this album.The songs although long in length seem more structured despite their improvised nature,where there are reoccurring themes and riffs almost like that of a jazz band in which there's a head,solo,head,solo etc.It's with this I feel this album excels,it leaves behind the snobbery of jazz but still gives you the tight musicianship and improvisations.And of course the high energy,experimentation and passion which Omar always brings to the table.Of course if you know anything about Omar from either solo projects or The Mars Volta you've already realised he doesn't care much for music theory and would rather create his own methods and sounds,which do him great justice with his self titled,As you can hear his motivations and expression clearly through his playing on this album rendering him with a completely unique style.
This album in my honest opinion features his best guitar work but that's not to say he steals the lime light.Adrián Terrazas-González,who also used to feature with The Mars Volta up to Octahedron completely tears it up on Saxophone & Bass clarinet.Most notably on the high energy second track Regenbogen Stelen Van Prostituees giving an incredible performance reminding me of a young Mel Collins in King Crimson and perhaps almost to his great standard.It's a shame he isn't playing with the current Mars Volta group as his playing really helped shape and add another dimension to much of Omars work.
The self titled album features only five tracks.The first track,one of which is the albums shortest reaching only at 3:22 consists of Gongs,Tambourines,Reverse symbols with various percussion and effects.Which continuously builds growing louder to eventually,the crescendo of the piece releases you into Regenbogen Stelen Van Prostituees (Stealing Rainbows From Prostitutes)relieving you from the tense opener into something more chaotic and fun.
The longest track reaching 17:27 in length is Jacob Van Lennepkade which only consists of very few riffs but leaves the quintet with endless musical possibility's to explore which leaves a small reminiscence of John Mclaughlin and other such fusion.Omar also recorded a second part to this, which features on another Quintet album "The Apocalypse Inside of an Orange" and eventually was to be moulded into Visceras eyes features on The Mars Volta's third album,Amputechture.This is something you begin to appreciate with Omar's solo releases as there more jam and improvised based.You hear these songs in there rawest form and in a live setting which is a far cry away from the high production of The Mars Volta (Although Omar Produces all Mars Volta & Solo) This and the small amount of tracks could be seen as negative thing from the eyes of a Mars Volta fan.But I personally feel this is what makes this album great and stand out and away from other Mars Volta releases,as it feels much more personal,something which I relish in music.
Overall a very enjoyable album.It should please Omar and Volta fans alike though it's a purely instrumental album.The Quintet/Amsterdam series is some of Omar's best work and if your in need of a follow up,I would recommend The Apocalypse Inside of an Orange.
This is by far my favourite Omar release and quite possibly one of my most listened to albums.With Omar's solo & Mars Volta releases there are certain elements in which Omar brings within every song he features on and have subsequently become a prominent part of his playing and overall sound.There is no doubt he has influences from avant guard,Jazz/fusion,progressive rock and Puerto Rican musicians and this album perhaps captures these more so then his earlier solo albums released prior to this revealing itself as a far more concentrated record.
This is his fourth solo release and second as the Omar Rodriguez Quintet with a line-up of five musicians with roles like that very much of a jazz band featuring sax/bass clarinets,keyboards and the obvious drums,bass and guitar.The overall essence of the album from first listen you'll release how improvisation and spontaneous jamming is the nature of this album.Though each song seems to veer from one extreme music style to the next with Melting Chariots being very much funk rock opener for the album next to sparked from the insult list almost being Santana Esq then to the very psychedelic/avant realms of the self titled song Apocalypse inside of an orange.The track listing is very much like that throughout the album which would surely make you think that could would loose the context and overall theme of an album but that's irrelevant,when there isn't a style to begin with other then Omar's.But that's the brilliance of this album and Omar in general,It doesn't loose touch of it's purpose.Others things you may notice is jams and ideas making reprises and being remodelled for future Mars Volta songs.This albums example is Jacob Van Lennepkade II which would soon become Viscera Eyes on the album Amputechture.
So if your already a fan of The Mars Volta and Omar or even fusion music this album is not missed. Recommend songs:Melting Chariots & Coma Pony.
This album was eventually released in 2008 has been in the making since around 2002.With the break up with At The Drive and the beginning of The Mars Volta you could view this album as a documentation of Omar's evolution as an artist.From the very start of the record you get the feel of the opening track Hands Tied to the Roots of a Hemorrhage could of featured on a At The Drive In album or perhaps The Mars Volta's Tremulant EP.Though a great song this may be the reason for the albums weak point which would be consistency.
I must say though,this is among my favourite Omar solo records and experimentation and dissonance features very heavily throughout the album.This album certainly has to be one of Omar's most experimental.This features heavily in the albums sound almost making it more a complete experimental/psychedelic record if it weren't for songs such as Tied Prom Digs on the Docks and Hands Tied to the Roots of a Hemorrhage learning towards Prog Rock (which are also my favourite tracks) This combination of psychedelia and rock could almost be comparable to a modern Syd Barret era Floyd (Whom influenced Omar tremendously).Omar has the tendency to play various styles and has no exception here.The songs seem to flip back and forth from styles and you find yourself often confused by the beginning of a song taken an unexpected turn to somewhere you never expected.But the great thing with this record is though you have no idea where the songs are taking you and it's the journey it takes in which you benefit, which is the great thing about it.There is no doubt this is a strong album with strong songs it just lacks a very slight theme and overall tonality.This isn't to say I expect every song to intertwine with one another but these various songs over a period of time have been placed onto an album which gives it the feel of a compilation album.
So for Mars Volta fans who disliked the avant & ambient moments in Frances,this album may not be for you.Otherwise Omar & Mars Volta fans alike will love this.
