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WCU - Western Carolina University Publications

Western Carolinian Volume 72 Number 10

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Item 1 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Item 2 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Item 3 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Item 4 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Item 10 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Item 11 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Item 13 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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Item 15 - Western Carolinian Volume 72 Number 10
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Western Carolinian Volume 72 Number 10

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Western Carolinian Volume 72 Number 10

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  • | vy Mars Volta The Bedlam in Goliath ason W. Eckard staff writer iring on all cylinders (and a new drummer), The Mars olta reaches the final boss of their bombastic sound and gets he best ending possible. Five years and four albums into their career, The Mars olta have been everywhere. It started with their 2003 debut De-Loused in the Comatorium, an intercontinental hop be- ween style and sound bridged by an epic rhythm section and suitars put through a blender of filters and delay. After De- Loused came 2005s Francis the Mute, a more commercial al- bum centered around a journal found by now-deceased sound manipulator Jeremy Ward. After overseas hit album Amputech- ure in 2006, 2008s The Bediam in Goliath (TBiG) is an album hich takes the complexities, the chaos and, most simply, all he rock of The Mars Volta to the next level. According to lead vocalist Cedric Bixler-Zalava and lead Suitarist Omar Rodriguez-Lopez, the central concept of TBIG resolves around a Ouija board Rodriguez-Lopez bought while isiting Jerusalem. What appeared to be a simple buy lead the sroup down a terrifying road of bad luck as the group claims he Ouija board was cursed, causing problems including their chief engineer having a nervous breakdown and most of TBiGs parts simply deleting itself upon recording. Take from this hat you will. its the urgency of TBiG that truly makes it a BAMF of a record. From the opening track Aberinkula, which drop kicks | ou into a wah-falisetto Mod-Squad car chase to Wax Simula- ra, 3 minutes of pure unadulterated Diva-lusciousness, the feeling of the record is that its story wants to be told with as c - UV Gel - Solar Voitas two previous albums Francis the Mute and Amputechture, both of which found themselves cascad- ing into drone territory, simply leading down long empty aves. Other highlights includes the high-octane Goliath; as the name implies the song has a groove that will wake the lead and a climax that will make you follow with it, Never heard a man speak like this man before/ All these days of my life, ever since Ive been born/ Never heard a man speak like this man before. The song Tourniquet Man is without a doubt the strangest song of TBIG and for some of the daftest of rea- sons. What surmounts to the ballad of the album, Tour- niquet Man is a trip through a haunted house with Cedric acting as your Casper, a very pissed off Casper at that, with a voice from the depths for the 9th gate of hell. Ouroboros is this authors personal favorite track. It is a take-no-prisoners punk outlet roasted and ready for the Cannibal Apocalypse as they dance around the fire, keyword being dance. The rhythm section drags you with its claws- Dont you ever, ever, ever trust my mercy- screaming from your speakers. As schizophrenic as TBiG is, its also the most club- ready and most accessible album The Mars Volta has ever put out. There isnt a single song on this album without a melody that promptly leeches onto your brain. The Mars oltas records have always delved into creating deeply-lay- ered melodies, the same kind that truly will draw you to it in he Bedlam in Goliath. jas Pridgen? Drummer prodigy jor human drum machine de- a |pending on your look at it; : \Pridgen is the adrenalin injec- a @qee4 tion which gives TBiG the final 6 gee seal of speed, energy and most jof all, groove. Pridgen simply kills the drums, most notably lion some of TBIGs most mellow songs, such as Ilyena and oe B is a ey Se ah, Se Askepios. The Bediam in Goliath lis an explosion of pure fun, no matter your musical tastes. You |should hop in this spaceship jand go for a ride; I can truly say you'll enjoy this record.
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Western Carolina University Publications

The Western Carolinian is Western Carolina University’s student-run newspaper. The paper was published as the Cullowhee Yodel from 1924 to 1931 before changing its name to The Western Carolin...

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