Like many
other fans, when longtime collaborators Cedric Bixler-Zavala and Omar
Rodriguez-Lopez parted ways with the dissolution of the Mars Volta in early 2013,
I was heartbroken. Together, they had formed one of the most prolific duos in
the world of music, and their bitter separation[1] had left an alarming hole
in the world of rock. However, when they announced a return with their new full
time project Antemasque[2], I could not help but be
excited, grabbing for a copy of their eponymous debut. After spinning it
incessantly for the past few months, I can say with certainty that, although it
is not without its faults, I have not heard a record as honest as Antemasque in a very long time.
In the foundations
of both this band and this record is ingrained a very simple mission: for a
group of friends to simply express themselves through music, without allowing any
deeper terms or purpose to get in the way. In an official statement, the band
proclaimed that their debut record “is what happens when artists collaborate
for love of playing together, without an end result in mind.”[3] The sound of Antemasque is that of four musicians
with a long history (both Flea and Dave Elitch had previously performed with
the Mars Volta[4])
reuniting to throw all their energy into some original tunes, and indeed, these
guys leave nothing behind. Omar’s jangly melodies and gritty chords wash
against Dave’s thundering drum beats, and Cedric’s screams seem ripped right
out of the first days of rock ‘n’ roll. While such a basic objective does leave
a lot of the record feeling underdeveloped, one cannot deny the absolute ferocity
with which these four attack their parts.
I am
always loathe to compare a record to the artists’ previous endeavors, but with
every spin, I have a harder time finding significant similarity between Antemasque and anything else Cedric and Omar
have created. Undeniably, there are elements of the past present in some
tunes—“Ride Like the Devil’s Son” and “Momento Mori” carry a flavor reminiscent
of TMV, and “I Got No Remorse” packs as much punch as any At the Drive-In tune—but
no part of this record belongs to any act but Antemasque. Omar’s riffs range
from prog-rock through punk and into pop, but his open chord shapes and sparse
effect work feel more like distilled rock than anything else. Similarly,
Cedric’s soulful melodies and raspy wails dominate a sonic territory previously
owned by the likes of Robert Plant and Ronnie James Dio. For a duo with an
already widespread catalog, cultivating yet another unique sound and style is
all but incredible, yet Antemasque gracefully and enthusiastically takes
complete ownership of that feat.
The
distinct sound and limitless energy on Antemasque
are both positive products of the band’s mission statement of “music for
music’s sake;” unfortunately, that mission makes the composition on the record
largely come off as both weak and unexplored. Many of Cedric’s lyrics, while perfectly
functional, lack a vivid poetic vision, and every song title has apparently
been lifted from the lyrics. He relies heavily on clichés, such as the images
“arm and a leg” and “long way down” from “In the Lurch,”[5] and this tendency takes
away from the strength of any unique or interesting lines he does utilize. And
while the instrumental side feels much more fleshed out and developed, the
hurried mix leaves the string section feeling thin while the bass drum booms,
furthering the “not-quite-finished” feeling that permeates the record.
Although
lacking in some areas, there are still many intelligent decisions embedded in
the songs on Antemasque, and no tune
feels more complete than “Providence.” Perhaps
the heaviest piece on the record, “Providence” explores a dense darkness that
the rest of the album only hints at. The seething and creepy chord progression,
complete with syncopated hits announcing each repeat, lays out a sinister scene
before exploding into a heavy and hateful chorus. Similarly, Cedric’s warning against
“a mess that devours its own” quickly leads into his terrified exclamations of
“you will burn me at the stake.”[6] The watery effects and
stuttering Cedric applies to his melodies further deepens the disquiet. Every
second of “Providence” breeds a sense of unease while pumping adrenaline into
the listener, and captures the true potential of this project.
In the
end, the music on Antemasque comes
off as interesting yet unremarkable, but the intensity of presentation and
performance marks this band as one absolutely laden with potential for
greatness. There is a lot of space left unexplored in the record, and a simplicity
that jars our expectations of this group. However, this project is at its very
core one of friends getting together to make music without any goal or vision
in mind, leaving us with an end product that is wholly honest and tons of fun. At
its very least, Antemasque gives us a
new look at this super-duo’s capabilities; at its most, it shows that there is
much to come from this group, if they can maintain the mission.
Tunes to Check Out:
1) Providence
2) I Got No Remorse
3) 50,000 Kilowatts
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