In the midst of the cosmic stew that we call the universe, the unexpected occurs all of the time. In the best music, as in life, sometimes forces zig when they are supposed to zag. While the result is sometimes difficult to accept, revealing the big picture makes it all seem inevitable.

When it was announced earlier this year that The Mars Volta had reunited and were preparing to release their first studio album in 10 years, a certain segment of the music world held their breath. The Texan progressive rock collective was undoubtedly one of the most unique outfits of our current millennium’s first decade. Between 2002 – 2012, The Mars Volta released a string of amazing records that presented a freewheeling tapestry of post-hardcore, psychedelic rock, Latin music, jazz, and ambient electronica that really has to be heard to be understood. They really are one of the most original bands that I’ve ever heard, and were extremely influential on my music tastes during my teenage years.

The group disbanded after the disappointing Noctourniquet (the only dud in their catalog). Guitarist and leader Omar Rodriguez-Lopez embarked on an insanely prolific solo career, spinning out several dozen albums with a rotating cast of musicians. Some of these were former TMV members, others were not. Outside of his strictly solo material, Rodriguez-Lopez has collaborated with a number of rock stars in one-off projects, most relevantly with Mars Volta singer Cedric Bixler-Zavala, Red Hot Chili Peppers bassist Flea, and drummer Dave Elitch in the underrated Antemasque.

So when the full on band reunion was announced, I was excited but a little perplexed. Why now? Why not call any other post-breakup configuration of former member The Mars Volta? I figured that they must have a clear reason to do so now, with a specific vision for the project.

In the lead-up to their self-titled reunion album, Cedric and Omar stated that they consciously wanted to make a “pop” Mars Volta album. One of the great things about the band is that no matter how experimental and unwieldy they got, they always anchored their songs with melody and catchy hooks. Bixler-Zavala is a remarkably expressive vocalist with a crazy range – I feel like he’s one of the most instantly identifiable singers in modern rock. Earlier albums often emphasized some aspects of their sounds over others, so I wasn’t completely turned off by this conceit. 

This time around, the gang is rounded out by returning original bassist Eva Gardner, new drummer Willy Rodriguez Quinones, and keyboardist Marcel Rodriguez-Lopez (Omar’s brother, who served primarily as the band’s percussionist during their original run). When it comes to the music, they weren’t lying. The Mars Volta (the album) is certainly the closest that The Mars Volta (the band) can probably get to making a pop album. It’s still too edgy to get serious radio play; at the same time the record hangs entirely around Cedric’s vocals. Not only is his singing mixed way up front, but there really isn’t much else going on musically. The songs are all uniformly 2-4 minutes, and there is a complete absence of any guitar solos or instrumental passages at all. The instrumentalists all play very tightly in service of the songs. To be honest, if this had been released as a Cedric Bixler-Zavala solo outing, I wouldn’t have batted an eye.

There are still hallmarks of the classic sound. Opener “Blacklight Shine” rides in on a clattering Latin rhythm, and Cedric sings in both English and Spanish throughout. “Graveyard Love” slinks by on a dangerously seductive groove. In “Blank Condolences” we hear some of Omar’s trademark guitar sound during the outro, the most it steps to the forefront. And closer “The Requisition” is the longest song and fades away with some electric noise that wouldn’t be out of place on 2005’s Frances the Mute. Album highlight “Vigil” is fantastic, sporting a soaring hook as only Bixler-Zavala can conjure. 

Yet I can’t help but feel conflicted. Taken as it is, it’s a pretty good album. The melodies are all strong, and like always, Cedric’s lyrics are at once quizzical and imagistic. The whole album flows together from one track to the next to create a sustained mood. At the same time, I’m still slightly disappointed. After a decade of absence, it would have been so gratifying to hear the wildly visceral stream-of-consciousness freak-outs of yore. I understand that the band wanted to present a different side to themselves, and on The Mars Volta they do so admirably. But my itch has yet to be scratched. When a band you love reunites after 10 years, I don’t think it’s too much to want to hear the sound that you fell in love with back then, not something radically different.

Maybe The Mars Volta picks up a few new fans with this, although I can’t imagine anyone jumping on it who isn’t already in the know. They are going on tour next year and I’d love to catch them; they are known to be ferocious live. But I would love it even more if they stick around and record follow ups. Hopefully they will venture out a bit into the stratosphere that they charted so well during their first go-around. I know The Mars Volta, like any true artists, follow their muses to spaces unexpected and sometimes confrontational. It’s just such an aspect that makes their music so exciting in the first place. With some time I think I’ll accept The Mars Volta as another piece to their puzzle, but here’s to hoping that it serves as a reintroduction to another decade of progressive mastery rather than a tidy epilogue.

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