In early 2005, The Mars Volta started touring in support of their long awaited second album, Frances The Mute, on a long tour with multiple shows that varied in length, but usually longer than the two hour mark. A lot of recordings from these shows can be found, and as with many bootlegs, they vary in quality, making up for a considerably large archive of what is considered by a lot as a great time for Volta's live shows (I could get my hand on 16 of these shows to be precise). The setlist for most of these were very similar for the most part, but almost every show had unique aspects to itself. Making an individual entry for each one would feel disjointed, considering that a lot of these share many things in common, so I thought it would be more convenient to gather all of these on just one entry with different parts, constantly updating with each concert entry. All of this will be seen in chronological order, while looking at the specific characteristics of each show.
The Mars Volta would release their sophomore record in early 2005, with the first editions of the record officially coming out in Japan on the 11th of February. Before this date arrived, The Mars Volta started the tour in promotion of this new record by kicking off their live shows in various placed of Tokyo. One of these concerts was given on the Liquid Room nightclub, where artists such as Jeff Mills had performed years before, where the band performed a set in February 8, three days before the album was available for purchase. What we have here is a concerts that follows in spirit to what was seem before in 2004. Long gigs, with a bunch of songs being performed and showcased for people to see, expanded with the improvisational skills of the band, and leading these with some notable stage presence carried by the chemistry of the members.
The performances are very tight, with most of these songs being showcased on a way that it was to be expected from them. They don't really hold a candle to what was seen months before during their shows on The Wiltern, but it was them warming up before starting with their longer sets. The sound quality here is a bit dirty to the ear, it is far from being annoying or terrible, but it leaves a lot to be desired. All the instruments and vocals can be perceived and appreciated on a nice way, and the crowd noise and the echo of the location don't affect too much. Overall, it is a very decent recording, going along well with a very decent show from the band.
But, just like with many Mars Volta shows during this era, there are some very noticeable qualities and moments to take away from this experience. Most notably, the fact that this was perhaps the first official live performance, and debut, of Cygnus...Vismund Cygnus. The version that can be found here is close to what would be seen on the album for the most part, finally showing where the Facilis Descenus Averni middle section used on previous live performances of Drunkship of Lanterns (a track that was also performed here, with a different and more extensive instrumental jam, being a glimpse at what would eventually become the opener of most of these shows). Even the Con Safo outro is performed, with all the studio atmospheric segments appearing as well, without the inclusion of the field recordings, but being the only segment of the song being extended with jamming in order to transition to the next track. It wouldn't be much compared to future versions of the song, but it definitely stands out as being something new, intense, and special to witness on such a concert.
But besides that, there are some great moments from the set. The Concertina rendition that appears here, as short and simple as it feels compared to the rest of the tracks, has as much energy and as much emotion as the rest of the concert, being a very potent and engaging tune to listen to, showing the long road that they had crossed since they started in 2001. Cicatriz ESP is a great closer, and it still uses some segments of Cassandra Gemini during the improv segments, but this would change not so long after due to the inclusion of that big medley on the setlist. But even then, its far from being the best version of Cicatriz, and the same can be said for most of the songs, where the renditions are still great to listen to, but they had, would have done, much better with them. Still, the chemistry is on point, and there is no moment where the band fails at implementing the big coordination between all the parts, and the performances themselves from every member stand out as something highly energetic, surprisingly technical, and very engaging for an audience from beginning to end.
Overall, this is a good recording from the band, being a great archive of that would eventually come during that year. It shows glimpses at many things that would eventually happen with these concerts, where the band would expand them with new songs, and an even tighter improvisation. As a way to see the first renditions of what would become some of their best tracks to see on a live setting, this is very enjoyable. The sound quality could be much better, but it is good enough to appreciate all that this set had to offer (there is even footage of this show available online). A good introduction to kick off this era of the band, being really enjoyable overall.
Sound Quality: 7/10
Overall Rating: 7/10
Favorite Track: Concertina / Cygnus...Vismund Cygnus
Ancienne Belgique, Brussels, Belgium 22-02-2005
The Frances The Mute tour had a very nice start with the band's performances in Tokyo due to the promotion of the Japanese release of the album during early February. Those shows marked the beginning of a lot of things for this era of the band's career. They would continue with the long gigs that they had started to try some months before, with a number of songs being performed and expanded with improvisation. The jam segments that belonged to Frances The Mute would be replaced with normal improvs lead by the band's coordination, and the new songs would slowly be implemented on the set (with Cygnus....Vismund Cygnus being the first of these to be performed on full), but not being expanded as much as some of their more well known tracks at the time. However, this would only be the stepping stone for what a lot of these shows would become, slowly introducing some new elements and having the gigs have much more to offer at the end of the day, having some of the most layered and loosened performances of their entire career.
After their show on February 8 in the Liquid Room, the band would take a very short break before coming back to the stage on Belgium due to the European release of their album taking place on the 21st of that same month. Just one day after, Volta would perform on Ancienne Belgique, and this show would be the one that implement some of the most notable aspects of their shows during this live era of the band. The main issue that this recording has is the fact that the sound quality could be much better. The crowd noise sometimes overlaps some segments of the songs, and others the instruments themselves overshadow themselves. It is a very rough recording to get used to, and while it is not necessarily terrible, it could use a lot of work in order for the songs to be appreciated on a better way, since the overall experience gets dragged down due to this odd quality with the sound, something that they truly deserve.
This is such a shame, because this recording, this particular performance from the band, is a considerable improvement on what was seen on Tokyo. Adrian Terrazas would officially join the main lineup of the band as an important member in percussion duties with flute, saxophone, and other instruments; and his presence can be greatly felt all throughout this concert. His incorporation, aiding Marcel with percussion on the normal tracks and then having his important segments on Frances The Mute's tracks, would make the whole music feel much more tighter, but the rest of the members do not hold back whatsoever. Every member is pushing themselves to their absolute limits, offering some very intense, precise, and very energetic performances; something that would only continue to increase with the following concerts. Jon easily provides some of the best drumming of his entire career, Ikey's keyboards have much more relevance in every song, being noticeable for complementing the rest of the instruments, Juan's bass is fast and precise, getting used to Omar's frantic and dynamic guitar (where the use of pedals increases to a whole different level), and Cedric's vocal range is incredibly polished, providing segments where his voice bleeds out and his shift in tone is very drastic and precise.
The band would start embracing all those different elements on a concert that had a very similar structure to the long concerts that were presented in 2004. The versions of Take The Veil, Drunkship of Lanterns, and Roulette Dares are all great, staying on the norm of what was to be expected from them at that point, with each of them being expanded in their own particular way with the jam segments (and having the Frances The Mute bits completely removed from them). Concertina, like always, stands out as one of the highlights of the set, a very short track, but incredibly potent on its energy and execution from all the members, definitely serving as a way to show how much they had improved since their early performances, proving that they didn't need drugs in order to display a psychedelic and intense onstage presence. The Widow is presented here, officially debuting live (it had been shown before as an acoustic piece on The Wiltern) as a new track of the new album, being very potent on the sound but being affected by the sound quality. It eventually leads into the rendition of Cygnus found here, being very similar to the one given on Tokyo, but improved with Adrian's percussion.
However, the main event here is the final track, the encore section that would be introduced right after Concertina. Cedric interacts with the audience on a charismatic way, just like every time, and another new song from their new album would be played in full: Cassandra Gemini, with this being its first live appearance on the group's career. This would be the song to replace the appearance of the long renditions of Cicatriz ESP on these concerts (considering that the jam segments on these used elements from Cassandra it would only be natural to think of it as the case), being performed on its entirety as the closer for every set. Without a doubt, this is the concert's highlight, an amazing way to end a concert, with almost thirty six minutes where the band showcases everything that they are capable of, starting of as an unexpected explosion of sound that catches the audience, and the listener, off guard. It is not perfect, but most of the segments appear here, and there are a lot of points that definitely stand above the rest, with every member providing their own piece of the puzzle. Adrian's flute and saxophone parts are incredible, Marcel's small percussion details, with some of Omar's most dense and impressive guitar playing, Jon's ability to never stop with his instrument, Ikey's atmospheric keyboards that complement the tone, Juan's ability to present a meticulous performance, and Cedric's outstanding vocals. It is all carried on a fantastic way, with them being able to jam and coordinate on an impressive manner, being able to shift in tone on a total resonance, from adrenaline filled segments to chaotic interludes that transition right into calm sections. It all flows on a very coherent and engaging way, and the fact that they are able to replicate and even improve some parts of the studio version simply goes to show their talent and incredible onstage presence. It is such a shame that the main issue with this is the sound quality, leading to some parts not being very clear on what exactly is going on. But still, it is the definitive highlight of the concert, a fantastic closer, a phenomenal track, and something that has to be heard in order to be fully appreciated by any fan of the band.
Overall, this recording is certainly something very special. The proper starting point of a tour that would be full of intense and engaging performances (some recordings of this concert can be found online). The De-Loused tracks here are great as always, but they would improve even more with each show. Definitely a step up from what was seen in Tokyo, and it is worth it just for the performance of Cassandra Gemini alone. The whole band is starting to display their full potential, and that can be felt with each track that is showcased here. If it wasn't for the sound quality, full of odd moments and a rough sound, this would definitely be a much more essential performance for any fan of the band. But still, what a fascinating and highly enjoyable set.
The Frances The Mute tour had a very nice start with the band's performances in Tokyo due to the promotion of the Japanese release of the album during early February. Those shows marked the beginning of a lot of things for this era of the band's career. They would continue with the long gigs that they had started to try some months before, with a number of songs being performed and expanded with improvisation. The jam segments that belonged to Frances The Mute would be replaced with normal improvs lead by the band's coordination, and the new songs would slowly be implemented on the set (with Cygnus....Vismund Cygnus being the first of these to be performed on full), but not being expanded as much as some of their more well known tracks at the time. However, this would only be the stepping stone for what a lot of these shows would become, slowly introducing some new elements and having the gigs have much more to offer at the end of the day, having some of the most layered and loosened performances of their entire career.
After their show on February 8 in the Liquid Room, the band would take a very short break before coming back to the stage on Belgium due to the European release of their album taking place on the 21st of that same month. Just one day after, Volta would perform on Ancienne Belgique, and this show would be the one that implement some of the most notable aspects of their shows during this live era of the band. The main issue that this recording has is the fact that the sound quality could be much better. The crowd noise sometimes overlaps some segments of the songs, and others the instruments themselves overshadow themselves. It is a very rough recording to get used to, and while it is not necessarily terrible, it could use a lot of work in order for the songs to be appreciated on a better way, since the overall experience gets dragged down due to this odd quality with the sound, something that they truly deserve.
This is such a shame, because this recording, this particular performance from the band, is a considerable improvement on what was seen on Tokyo. Adrian Terrazas would officially join the main lineup of the band as an important member in percussion duties with flute, saxophone, and other instruments; and his presence can be greatly felt all throughout this concert. His incorporation, aiding Marcel with percussion on the normal tracks and then having his important segments on Frances The Mute's tracks, would make the whole music feel much more tighter, but the rest of the members do not hold back whatsoever. Every member is pushing themselves to their absolute limits, offering some very intense, precise, and very energetic performances; something that would only continue to increase with the following concerts. Jon easily provides some of the best drumming of his entire career, Ikey's keyboards have much more relevance in every song, being noticeable for complementing the rest of the instruments, Juan's bass is fast and precise, getting used to Omar's frantic and dynamic guitar (where the use of pedals increases to a whole different level), and Cedric's vocal range is incredibly polished, providing segments where his voice bleeds out and his shift in tone is very drastic and precise.
The band would start embracing all those different elements on a concert that had a very similar structure to the long concerts that were presented in 2004. The versions of Take The Veil, Drunkship of Lanterns, and Roulette Dares are all great, staying on the norm of what was to be expected from them at that point, with each of them being expanded in their own particular way with the jam segments (and having the Frances The Mute bits completely removed from them). Concertina, like always, stands out as one of the highlights of the set, a very short track, but incredibly potent on its energy and execution from all the members, definitely serving as a way to show how much they had improved since their early performances, proving that they didn't need drugs in order to display a psychedelic and intense onstage presence. The Widow is presented here, officially debuting live (it had been shown before as an acoustic piece on The Wiltern) as a new track of the new album, being very potent on the sound but being affected by the sound quality. It eventually leads into the rendition of Cygnus found here, being very similar to the one given on Tokyo, but improved with Adrian's percussion.
However, the main event here is the final track, the encore section that would be introduced right after Concertina. Cedric interacts with the audience on a charismatic way, just like every time, and another new song from their new album would be played in full: Cassandra Gemini, with this being its first live appearance on the group's career. This would be the song to replace the appearance of the long renditions of Cicatriz ESP on these concerts (considering that the jam segments on these used elements from Cassandra it would only be natural to think of it as the case), being performed on its entirety as the closer for every set. Without a doubt, this is the concert's highlight, an amazing way to end a concert, with almost thirty six minutes where the band showcases everything that they are capable of, starting of as an unexpected explosion of sound that catches the audience, and the listener, off guard. It is not perfect, but most of the segments appear here, and there are a lot of points that definitely stand above the rest, with every member providing their own piece of the puzzle. Adrian's flute and saxophone parts are incredible, Marcel's small percussion details, with some of Omar's most dense and impressive guitar playing, Jon's ability to never stop with his instrument, Ikey's atmospheric keyboards that complement the tone, Juan's ability to present a meticulous performance, and Cedric's outstanding vocals. It is all carried on a fantastic way, with them being able to jam and coordinate on an impressive manner, being able to shift in tone on a total resonance, from adrenaline filled segments to chaotic interludes that transition right into calm sections. It all flows on a very coherent and engaging way, and the fact that they are able to replicate and even improve some parts of the studio version simply goes to show their talent and incredible onstage presence. It is such a shame that the main issue with this is the sound quality, leading to some parts not being very clear on what exactly is going on. But still, it is the definitive highlight of the concert, a fantastic closer, a phenomenal track, and something that has to be heard in order to be fully appreciated by any fan of the band.
Overall, this recording is certainly something very special. The proper starting point of a tour that would be full of intense and engaging performances (some recordings of this concert can be found online). The De-Loused tracks here are great as always, but they would improve even more with each show. Definitely a step up from what was seen in Tokyo, and it is worth it just for the performance of Cassandra Gemini alone. The whole band is starting to display their full potential, and that can be felt with each track that is showcased here. If it wasn't for the sound quality, full of odd moments and a rough sound, this would definitely be a much more essential performance for any fan of the band. But still, what a fascinating and highly enjoyable set.
Sound Quality: 6/10
Overall Rating: 7.5/10
Favorite Track: Cassandra Gemini / Concertina
Overall Rating: 7.5/10
Favorite Track: Cassandra Gemini / Concertina
Paradiso Grote Zaal, Amsterdam, Netherlands 23.02.2005
2005 could be argued as one of the most notable years for The Mars Volta in general, regarding both their studio and live efforts. From early on that year, the band had already started to display their onstage abilities by performing relatively lengthy gigs where they showcased a collection of various songs from their catalog, while expanding them with improv or simply making those renditions be a presentation of their ability to replicate the studio elements onstage. This was all done with the band adding their unique energy to the mix, bringing their chemistry together to play their complex compositions on a very intense, coordinated, and precise way. Despite these long gigs being similar to what was seen on different points throughout 2004, they had already started changing their set list in order to present things that would be common during all that tour (most notably replacing the appearance of the long renditions of Cicatriz ESP with the complete version of Cassandra Gemini, which did not receive any expansion with the improv, rather having different elements from the studio version be changed in favor of bringing a different version of the track for every show).
Following the early days of the tour, not long after Frances The Mute received its European release, the band kept doing venues across different parts of Europe, and after performing on Belgium, the band moved to the Netherlands in order to keep promoting their new album the next night. The sound quality here is nice, certainly much cleaner compared to the night before, but the volume on all channels is very low. This is something that could easily be fixed, but increasing the decibels or trying to change the mix makes everything be filled with static (mostly having to do with the quality of the device that captured this audio). Not only is it about the overall volume, but that means that some things stay too in the background (sometimes getting affected by the echo created by the structure of the venue) or just aren't all that audible for some periods of time. It is not something particularly annoying while using speakers, in fact that is the best way to experience this recording, but using headphones really shows the main issues with this bootleg.
Besides that, the set and performance of the tracks is very similar to the one given the previous night, but some things do change. This time, an extended version of Drunkship of Lanterns is performed as an opener, something that would be quite common during this tour, becoming a sort of spiritual replacement of Cicatriz in the time it would manage to achieve during some of these concerts, being a very energetic and well carried track, with the way that it manages to go back to the main song being such an unexpected and lively moment. The Widow and Take The Veil have much more tighter performances, where all the members start feeling much more comfortable with the way the renditions end up coming out. This time around, Cygnus stands out as a very frantic, calculated, and impressive piece, where the energy and the potential of the band starts showing on a very fantastic way. Cedric's vocal performance is certainly something incredibly special, being on point with most of the notes for most of the time, something that would only keep on improving during the rest of the Frances tour. Roulette Dares and Concertina carry the same energy as always, and it all leads to Cassandra Gemini being a powerful closer.
Another thing to take into consideration is the fact that now the flow between tracks is never stopped. There is always some sort of pedal effect or small instrumental interlude connecting all the experience, making it much more immersive and tiring, but having a lot of things to offer in return. Cassandra makes its second official appearance, and even though it is shorter and not as energetic or well polished as the night before (being a relatively shorter rendition), it is still a fantastic track, and the highlight of the concert. Ikey's keyboards take the spotlight along side Juan's ominous bass lines and Jon's explosive drums, but all the band makes up for a very great version of this track, not showing some segments and instead replacing them with very intuitive jamming.
Overall, this concert is certainly something great. It is not as powerful of a performance as the one given one night prior, but it starts showing a band getting more comfortable with their abilities and their onstage presence (with everyone pushing themselves to provide some very precise and energetic performances with their respective instruments), but also marking other things that would be very common during that particular tour (such as the positioning of some tracks, the overall flow that is never stopped when transitioning from one song to the other, among many other things). The sound quality is the main issue this time around, something that would continue being common, as expected, with many of these bootlegs, dragging the overall experience down as a consequence. Still, it is a great show, just as expected from this period of the band.
Sound Quality: 7/10
Following the early days of the tour, not long after Frances The Mute received its European release, the band kept doing venues across different parts of Europe, and after performing on Belgium, the band moved to the Netherlands in order to keep promoting their new album the next night. The sound quality here is nice, certainly much cleaner compared to the night before, but the volume on all channels is very low. This is something that could easily be fixed, but increasing the decibels or trying to change the mix makes everything be filled with static (mostly having to do with the quality of the device that captured this audio). Not only is it about the overall volume, but that means that some things stay too in the background (sometimes getting affected by the echo created by the structure of the venue) or just aren't all that audible for some periods of time. It is not something particularly annoying while using speakers, in fact that is the best way to experience this recording, but using headphones really shows the main issues with this bootleg.
Besides that, the set and performance of the tracks is very similar to the one given the previous night, but some things do change. This time, an extended version of Drunkship of Lanterns is performed as an opener, something that would be quite common during this tour, becoming a sort of spiritual replacement of Cicatriz in the time it would manage to achieve during some of these concerts, being a very energetic and well carried track, with the way that it manages to go back to the main song being such an unexpected and lively moment. The Widow and Take The Veil have much more tighter performances, where all the members start feeling much more comfortable with the way the renditions end up coming out. This time around, Cygnus stands out as a very frantic, calculated, and impressive piece, where the energy and the potential of the band starts showing on a very fantastic way. Cedric's vocal performance is certainly something incredibly special, being on point with most of the notes for most of the time, something that would only keep on improving during the rest of the Frances tour. Roulette Dares and Concertina carry the same energy as always, and it all leads to Cassandra Gemini being a powerful closer.
Another thing to take into consideration is the fact that now the flow between tracks is never stopped. There is always some sort of pedal effect or small instrumental interlude connecting all the experience, making it much more immersive and tiring, but having a lot of things to offer in return. Cassandra makes its second official appearance, and even though it is shorter and not as energetic or well polished as the night before (being a relatively shorter rendition), it is still a fantastic track, and the highlight of the concert. Ikey's keyboards take the spotlight along side Juan's ominous bass lines and Jon's explosive drums, but all the band makes up for a very great version of this track, not showing some segments and instead replacing them with very intuitive jamming.
Overall, this concert is certainly something great. It is not as powerful of a performance as the one given one night prior, but it starts showing a band getting more comfortable with their abilities and their onstage presence (with everyone pushing themselves to provide some very precise and energetic performances with their respective instruments), but also marking other things that would be very common during that particular tour (such as the positioning of some tracks, the overall flow that is never stopped when transitioning from one song to the other, among many other things). The sound quality is the main issue this time around, something that would continue being common, as expected, with many of these bootlegs, dragging the overall experience down as a consequence. Still, it is a great show, just as expected from this period of the band.
Sound Quality: 7/10
Overall Rating: 7.5/10
Favorite Track: Cassandra Gemini / Cygnus...Vismund Cygnus
The way Cygnus starts is unexpected, a musical explosion that does justice to the studio version by being a very energetic and precise rendition, managing to replicate the various studio elements on a live setting, but also expanding them in order to offer more with the performance, but it also goes to show how much the band had changed things up since their previous performances. The debut of the tracks from Frances The Mute meant that the jamming had to change for many tracks, but the band still managed to carry everything forward on a very impressive way in that regard, and it all felt natural and without any sort of extra elements being forced in whatsoever. The way that the band was able to offer dynamic sets every night was the thing that made them earn the reputation that they got during that point o their career, and it definitely shows, regardless of the sound quality. Cygnus ends on a calm way, with Juan's Con Safo bassline being looped over and over, with Cedric improvising some lyrics, eventually stepping down and giving way to Omar's guitar to start introducing, on an almost subtle way, the main guitar line of L'Via, while the atmospheric effect created by the pedal and the sound manipulation gives the members some time to rest in order to get prepared for the next track, with the proper studio transition to L'Via taking over and kicking off one of the definitive highlights of the entire show.
The way L'Via is carried forward, with the guitar solos, the atmospheric salsa influenced segments, and the improvised outro, is genuinely some of the best things to come out of this entire tour. Every single night this song manages to become something truly special, regardless of the main song (which is a masterpiece in it of itself), with the loose outro showing the potential of every single member from the band (but particularly letting space for Adrian's percussion abilities and Ikey's talent on the keyboard to shine, with Omar and Cedric following right after). It all fades out slowly, leaving Cedric's voice to keep stating the iconic line from the song, until everything dies down transitioning into Roulette Dares. The rendition of the actual song is as energetic and iconic as ever, but the version that can be found here is one of the longest ones from the song, particularly because the end segment is extended with the atmospheric jamming calming things down, but also showing the range of tones that the band is able to take at any given moment, eventually dying down in order to let a great version of The Widow take the lead. This is one of the more studio oriented versions of the track to be found on this tour, with the only thing dragging it down being the underwhelming sound quality found throughout all the different sources of this show. The small jam after The Widow changes the tone suddenly, keeping things tense and misleading in order to get to the intense and long closer in the form of Cassandra Gemini. As with every single show of this tour, this is a track that must be listened to in order for it to be fully understood. This is a very particular rendition of the song however, since it hints at many other tracks throughout the duration of the jamming, going from different songs from the band's many influences, to hints at the main riff of Frances The Mute, and even vocal melodies from Eunuch Provocateur. Definitely a highlight of the entire set, a great way to end a concert, and a statement of the band embracing their particular style and way of dominating the stage with their unique presence.
If the sound quality from any of the sources was much cleaner and balanced in the mix (with the instrumentals being polished enough to be appreciated and the different issues with the channels being fixed), this would be, without any sort of doubt, one essential recording from this period of the band. However, the lacking sound quality drags the entire experience down, and doesn't let some elements be fully appreciated in the end result, which truly is a shame. But still, I would personally recommend any fan of Frances The Mute and De-Loused to check out this concert. A long show that shows the huge potential of the band at the time, being very intense, energetic, and immersive; managing to be really enjoyable in the end, despite all the off putting qualities that the different sources might present.
Favorite Track: Cassandra Gemini / Cygnus...Vismund Cygnus
There are many different points across a band's career that can be marked as special, standing out for what they were doing at the time on their live shows, for the music that they were putting out, and sometimes for both of those reasons. One such thing happened with The Mars Volta across many different points of their career, such as some shows spread across different points in 2005 from their tour in promotion of Frances The Mute. Just like with many tours, and specially with a band with such a marked way of presenting long gigs that were heavy in atmosphere due to the amount of things that were going on onstage, the energy and performances of the band started getting fleshed out with every new concert, with every little change added in order to present a very flexible and unexpected set for each night of this tour. Just at the start of these dates, performed in Japan and then moving to Europe, matching the release of the album on those locations, the band had started to present and improve on things that would be common during the tour.
The long sets were more common this time around, with the band starting to incorporate some of their new tracks into the sets, but these also marking the change of the way other songs were performed. The jam segments that took different elements from songs that would be revealed as part of Frances The Mute (those used in Take The Veil, Drunkship of Lanterns, and Cicatriz ESP) were replaced by more conventional and unheard improvisations that varied from presentation to presentation. The Widow, which already appeared as an acoustic track in concerts during 2004, was performed along side Cygnus...Vismund Cygnus, but there was also the surprising inclusion of the complete thirty minute version of Cassandra Gemini being used as a closer during all this tour (replacing Cicatriz ESP in being the longer track of the set). The band was also expanding their abilities to replicate studio elements on a live setting, but particularly creating a non-stop flow between all the tracks lead by pedal effects or small interludes that lead to the appearance of some of the bands most immersive and atmospheric concerts until that point on their career. This was all introduced during the early stretch of the European sets (where a lot of different problems, such as the sound quality of the recordings from those nights, as well as the band just starting to get comfortable in that touring setting during that year, made those bootlegs things that could have been much more, but still having their own highlights to take from), but there was one particular presentation that, according to many fans, marked the true beginning of this tour.
This particular performance would take place on March 1st, coordinating with the official american release of the album, in Berlin, Germany, and here is where a lot of the elements that had been introduced until that point start being used on a much better way. The show was noticeable much longer, having around thirty more minutes where things where displayed on a much more loose way, than the ones that preceded it. The "no breaks taken" approach from previous shows was expanded even more here, making this more than two hours of an immersive and intense gig, with all the songs here being fleshed out in very interesting ways. The venue was one of the best, where not a lot of the echo noises or structure of the building interfered with the sound of the band. The crowd was much calmer than the ones that appeared before, and even after this point, being very respectable of what was going on, adding to a performance that had a considerably less amount of crowd noise, and with the group itself feeling much more comfortable playing on that setting (and even if better performances would come after, the audience and crowd noise were always elements to deal with in the quality of the bootlegs). This would all lead to fans considering this the show where the "European tour actually started".
But even taking all of that into consideration, this is not a perfect recording. As with many of these, the main issue relies on the sound quality of the gig, being one of the more polished recordings from 2005, but still being a thing that many could take some time to get used to. The instrumentals are clean, and most of the elements used across the songs can be heard and appreciated on good quality, with the echo of the venue being something that doesn't affect the recording too much. The vocals, however, are a little unbalanced in the audio channels, most of the time being thrown into the left channel more than anything, but still being something that just takes time to get used to. There is some minor phasing, and it could certainly be something of a much better quality, but it is all nicely balanced overall (despite it having some rather abrupt changes in volume at the time). It doesn't affect the actual concert all too much, and it lets these great renditions be properly appreciated on a very nice way. In a few words, and to put it on a wider perspective, this is one of the bootleg that is used the most to show the state of the band during this period of their career.
All the songs here have something to offer. The show starts with one of the longest renditions of Drunkship of Lanterns to be given until that point (being that these extended versions of the track would be the norm during most of the tour). Just with this opener the band is capable of showcasing the importance of every member on the track, with everyone playing an important role in order to bring a much more fleshed out version of the track. Many things could be pointed out as being the main factors of this, but the main thing is the fact that Adrian's saxophone playing, Marcel's percussion, and Ikey's subtle keyboard atmospheres and dynamic way of playing, are all things that are very important to these performances, with details that do a lot for these songs. Everyone plays a vital role in carrying the song forward, specially the improvisational segment. This is certainly one of the more special versions of Drunkship, with a lot of different elements, both created on the spot and even hinting at some things to come (like the fact that Cedric seems to use early lyrics that would be seen on Amputechture or some Omar riffs and pedal effects that would be later used on some of his solo projects, such as The Apocalypse Inside Of An Orange), that provide for a very dynamic, intense, and unpredictable jam. Juan's precise bass lines, Jon's explosive and dynamic drumming, Omar's engaging way of playing being expanded with his varied use of pedals, and Cedric's impressive range, with his voice being manipulated to create some echo at points, and some of his tones bleeding of passion on the performance. It all flows naturally, shifting between tones and moods, eventually seeming like it fades away just to return to the main song and end things on a very impressive way, kicking off the concert on an already outstanding way.
The Widow follows up as a sort of break from the frantic energy that was provided, a very sweet and passionate performance, where all the instruments come together once again to provide a very powerful rendition of the track, where all the details add to the overall experience (such as Ikey's background keyboards or Adrian's saxophone solo replacing Flea's trumpet). The renditions of Take The Veil, Cygnus, Roulette, and Concertina that come right after are some of the best to come out from this early period of the tour, with all the band giving their all to make up for some impressive performances that take the audience to many places, never dropping the pacing and the constant liveliness of their playing. Finally, Cassandra Gemini closes the experience on a fantastic way, this time implementing even more of the studio elements, such as the manipulated dialogue part right at the start of the track, in order to flesh out the track along side the diverse improvisation that is being provided by all the members. It certainly serves as a fantastic climax to the entire experience that had been presented until that point, with all the member pushing themselves to another level in order to coordinate between them and provide precise, intense, and highly layered segments that flow together on an engaging and fascinating way. Certainly something that has to be heard in order to be understood, being one of the best versions of the track that can be found live, but also closing one of the most recognized and loved concerts from this era of the band.
Without any sort of doubt, the sound quality and performances presented on this bootleg are a big improvement over what was seen until this point. Of course, a lot of things could be improved, and the band would still have plenty of impressive performances to offer across this tour in promotion of their second album, but despite all of that, the band displayed an ability to make all the elements they had used until that point something better implemented in their onstage performances. There is no doubt that they had a fantastic live presence, providing these heavy, intense, and non-stop displays of talent from their part, that did nothing more than engage the audience in all the musical bonanza that they had to offer. Thankfully, footage of this concert can be found online, available for anyone to understand why these jams and renditions are so special for many. It certainly could be much better with the right adjustments, but as it is, it is nothing short of jaw-dropping and enjoyable in so many levels.
Sound Quality: 8/10
Overall Rating: 8.5/10
Favorite Track: Cassandra Gemini / Drunkship of Lanterns
Favorite Track: Cassandra Gemini / Drunkship of Lanterns
Following the European tour, and with their album finally released in the United States, the band kept performing in Germany, continuing with what many fans considered the "true start of the Frances The Mute tour". Two days later after their concert in Berlin, the band moved to Cologne, providing a concert that was very much similar to the one that was already given, but that presented a considerable amount of differences compared to what was seen before.
For starters, this particular recording has some of the weakest sound quality from any of these bootlegs seen so far. It is not too noticeable on speakers, but once headphones are plugged in, the sound between channels is very inconsistent. Abrupt changes in volume, in tone, sometimes right in the middle of the song, but it is too noticeable. The mix is something of a big issue as well, with the instrumentals feeling somewhat unbalanced and sometimes elements getting overshadowed between themselves (particularly the percussion elements, but surprisingly enough, the guitar was not the main elements that overshadowed the others this time around). The phasing is something that takes time to get used to, and the crows noise certainly interferes with a lot of the performances, with a lot of people talking, engaging in, what is to be assumed, as passionate conversations throughout most of the concert (most notably on the middle section of the show). The vocals are quite high up on the mix, but the overall sound of the venue and the crowd, along side the way that it was recorded, makes for something that can be heard, but that takes some time to get used to.
As for the performance itself, it is certainly very similar to what was seen before. A long rendition of Drunkship to open the concert, with the rest of the set being practically identical. These versions, however, still lack some of the details and overall energy that were given until that point, but it is still a good show to listen to in full. It might be because of the odd and unbalanced sound quality, or maybe because the band was just missing some of the elements that made the Berlin concert shine the way it did, but this is definitely a much weaker performance overall. It is still something impressive, and the band certainly knows how to engage an audience and complete the songs with different elements (even if some of those elements still feel overshadowed by other instruments, making it hard for them to be properly appreciated on full), but the different problems that come through the entire album drag the entire experience down. Despite it being a good show, it is still one of the weakest recordings until that point. If people want the exact set that was presented here executed on a much better way, they definitely have more things to take from with the Berlin recording from two nights before. Still, enjoyable and immersive, but it could have been much more.
Sound Quality: 6.5/10
For starters, this particular recording has some of the weakest sound quality from any of these bootlegs seen so far. It is not too noticeable on speakers, but once headphones are plugged in, the sound between channels is very inconsistent. Abrupt changes in volume, in tone, sometimes right in the middle of the song, but it is too noticeable. The mix is something of a big issue as well, with the instrumentals feeling somewhat unbalanced and sometimes elements getting overshadowed between themselves (particularly the percussion elements, but surprisingly enough, the guitar was not the main elements that overshadowed the others this time around). The phasing is something that takes time to get used to, and the crows noise certainly interferes with a lot of the performances, with a lot of people talking, engaging in, what is to be assumed, as passionate conversations throughout most of the concert (most notably on the middle section of the show). The vocals are quite high up on the mix, but the overall sound of the venue and the crowd, along side the way that it was recorded, makes for something that can be heard, but that takes some time to get used to.
As for the performance itself, it is certainly very similar to what was seen before. A long rendition of Drunkship to open the concert, with the rest of the set being practically identical. These versions, however, still lack some of the details and overall energy that were given until that point, but it is still a good show to listen to in full. It might be because of the odd and unbalanced sound quality, or maybe because the band was just missing some of the elements that made the Berlin concert shine the way it did, but this is definitely a much weaker performance overall. It is still something impressive, and the band certainly knows how to engage an audience and complete the songs with different elements (even if some of those elements still feel overshadowed by other instruments, making it hard for them to be properly appreciated on full), but the different problems that come through the entire album drag the entire experience down. Despite it being a good show, it is still one of the weakest recordings until that point. If people want the exact set that was presented here executed on a much better way, they definitely have more things to take from with the Berlin recording from two nights before. Still, enjoyable and immersive, but it could have been much more.
Sound Quality: 6.5/10
Overall Rating: 7/10
Favorite Track: Cassandra Gemini
Favorite Track: Cassandra Gemini
Right after The Mars Volta finished with the first stretch of their Frances The Mute tour in early 2005 that took place in Japan and different parts of Europe, the band moved to the United States in late April in order to continue with the promotion of their second album, something that was rather delayed, considering that the album had its american release on early March, but that was to be expected, knowing that the band would take a month long break after their last performance in England on March 16. In order to continue with the tour, the band would eventually return to the stage on April 22, starting the second stretch of their 2005 tour by performing at the RIMAC Arena in San Diego, California.
First of all, and something that its not mentioned often with these bootleg recordings, is the fact that fans are lucky to have access to such archives, since they help people understand and appreciate the constant evolution of the band, as well as many of their unique onstage qualities that made them a musical act that shouldn't be missed by any chance during that time. Just like with many of these recordings, there were multiple sources available in order to listen to the full concert. The sound quality on one of these recordings is very odd, with the band being thrown too much into the background, leading to some elements and instruments to be overshadowed by both the crowd noise and other instruments, as well as the quality of the tape in some songs being inconsistent due to the sudden apparition of distortion or abrupt shifts in volume. The second source however, the one that is often recommended to fans, has a much more consistent sound quality all throughout the tracks, with the major issue being that at some point in Cassandra the quality shifts very suddenly to a worse sound quality than the one present before, but also the fact that Drunkship of Lanterns is incomplete on this source, missing almost ten minutes of material, but still being something that doesn't really end up affecting the experience all that much. The vocals are on the background, the instrumentals are a little bit watery due to the positioning of the tape and the venue, which ends up creating a quality that takes some getting used to, but that doesn't really end up affecting that much. It could definitely be something much better that improves the recording instead of dragging it down due to the lacking aspects. But despite all that, this show still has very unique and impressive things to offer.
In order to kick things off, the band presented some noticeable changes on the set, re-arranging the positioning of some tracks and debuting some tracks on their live form, as well as having some unique changes on how the songs were being performed overall, with the band being much more aware of the importance of percussionists like Adrian and Marcel adding some old school style of backing instruments, creating tighter performances. The characteristic of the set being a non-stop flow between tracks seemed to be more and more polished with each new concert, here being something much more engaging and immersive on its execution. Drunkship of Lanterns starts things off in the same way as previous nights, being an extended version of the song that is well carried overall, with the improv segments shining in how well presented and executed they feel, with every member having an importance in the sound that comes out, shifting between different moods and tones, eventually dying down and then exploding back into the main song. Cedric continues having that charisma of his with his strong stance against violent crowds, encouraging them to dance and have a good time, before transitioning directly into Concertina (appearing early on instead of being used as a prelude for Cassandra), that has a very lively rendition. Cygnus...Vismund Cygnus, Roulette Dares, and Take The Veil follow right after, being nice performances of the tracks, being in line with what was already seen on previous gigs (but they are dragged down due to the sound quality that appears here), flowing between each other on a very nice way, and carrying the same energy that was to be expected from them. After all that, the definitive highlight of the bootleg stands out with the last three song stretch. The Widow is as passionate and impressive as ever, despite carrying a different mood and tone compared to the rest of intense and technical tracks.
The outro of the song is a little bit extended, but it transitions into the interlude to L'Via L'Viaquez, making that the first night that the song was officially performed live. This is definitely something that shines above many things presented so far on the set, being a very catchy and dynamic song where all the members are able to give their all onstage by shifting tone and having their important contributions to the song. Omar's guitar solos (very Frusciante inspired in how they are carried through, and his very dynamic and engaging use of pedal work), Juan's calm and precise bass (complementing Omar's guitar on a very balanced way), Jon's impressive drumming (definitely being some of the best of his entire career, specially with the small drum solo he is given), Ikey's keyboard/piano talent (more noticeable and impressive on the calm salsa driven segments, providing very suiting melodies), Marcel's narrow use of percussion (with his small contributions making up for tighter segments), Adrian's wonderful flute (showing the 70's progressive rock/jazz-fusion influence bleeding through, being a fascinating piece to add to the original song, making it something definitely special), and Cedric's wonderful vocals (that despite singing in Spanish are able to transcribe the studio elements on a live setting on a wonderful way, achieving some remarkable high notes and improvising on a very unique way with his times). It all makes up for an excellent track to be appreciated by both audiences and listeners. It all leads into the classic closer of this tour, Cassandra Gemini, being a nice rendition of the track, having the enhanced elements seen on L'Via bleeding through, making up for a great track to end a gig with (that is sadly dragged down by the sudden shift in sound quality seen at the middle of the song).
This San Diego performance is not perfect, and it could have been something better executed in some regards, but it still has a lot to offer. What can be seen here is an enjoyable concert, definitely a great way to start the second stretch of the tour, with a lot of different elements to admire. The set is as immersive, intense, and layered as ever, and the re-arrangement of the setlist makes up for a very dynamic and surprising experience that manages to balance all the elements that it has to its disposition. It is a shame that the sound quality can't be improved that much, since this has some fantastic renditions of tracks accompanied by impressive performances. It is something that definitely deserved better in that regard, but that ends up getting dragged down due to how unbalanced it can feel as a whole, even after multiple listens. But even with all those issues, this is still something incredibly enjoyable.
Sound Quality: 7/10
First of all, and something that its not mentioned often with these bootleg recordings, is the fact that fans are lucky to have access to such archives, since they help people understand and appreciate the constant evolution of the band, as well as many of their unique onstage qualities that made them a musical act that shouldn't be missed by any chance during that time. Just like with many of these recordings, there were multiple sources available in order to listen to the full concert. The sound quality on one of these recordings is very odd, with the band being thrown too much into the background, leading to some elements and instruments to be overshadowed by both the crowd noise and other instruments, as well as the quality of the tape in some songs being inconsistent due to the sudden apparition of distortion or abrupt shifts in volume. The second source however, the one that is often recommended to fans, has a much more consistent sound quality all throughout the tracks, with the major issue being that at some point in Cassandra the quality shifts very suddenly to a worse sound quality than the one present before, but also the fact that Drunkship of Lanterns is incomplete on this source, missing almost ten minutes of material, but still being something that doesn't really end up affecting the experience all that much. The vocals are on the background, the instrumentals are a little bit watery due to the positioning of the tape and the venue, which ends up creating a quality that takes some getting used to, but that doesn't really end up affecting that much. It could definitely be something much better that improves the recording instead of dragging it down due to the lacking aspects. But despite all that, this show still has very unique and impressive things to offer.
In order to kick things off, the band presented some noticeable changes on the set, re-arranging the positioning of some tracks and debuting some tracks on their live form, as well as having some unique changes on how the songs were being performed overall, with the band being much more aware of the importance of percussionists like Adrian and Marcel adding some old school style of backing instruments, creating tighter performances. The characteristic of the set being a non-stop flow between tracks seemed to be more and more polished with each new concert, here being something much more engaging and immersive on its execution. Drunkship of Lanterns starts things off in the same way as previous nights, being an extended version of the song that is well carried overall, with the improv segments shining in how well presented and executed they feel, with every member having an importance in the sound that comes out, shifting between different moods and tones, eventually dying down and then exploding back into the main song. Cedric continues having that charisma of his with his strong stance against violent crowds, encouraging them to dance and have a good time, before transitioning directly into Concertina (appearing early on instead of being used as a prelude for Cassandra), that has a very lively rendition. Cygnus...Vismund Cygnus, Roulette Dares, and Take The Veil follow right after, being nice performances of the tracks, being in line with what was already seen on previous gigs (but they are dragged down due to the sound quality that appears here), flowing between each other on a very nice way, and carrying the same energy that was to be expected from them. After all that, the definitive highlight of the bootleg stands out with the last three song stretch. The Widow is as passionate and impressive as ever, despite carrying a different mood and tone compared to the rest of intense and technical tracks.
The outro of the song is a little bit extended, but it transitions into the interlude to L'Via L'Viaquez, making that the first night that the song was officially performed live. This is definitely something that shines above many things presented so far on the set, being a very catchy and dynamic song where all the members are able to give their all onstage by shifting tone and having their important contributions to the song. Omar's guitar solos (very Frusciante inspired in how they are carried through, and his very dynamic and engaging use of pedal work), Juan's calm and precise bass (complementing Omar's guitar on a very balanced way), Jon's impressive drumming (definitely being some of the best of his entire career, specially with the small drum solo he is given), Ikey's keyboard/piano talent (more noticeable and impressive on the calm salsa driven segments, providing very suiting melodies), Marcel's narrow use of percussion (with his small contributions making up for tighter segments), Adrian's wonderful flute (showing the 70's progressive rock/jazz-fusion influence bleeding through, being a fascinating piece to add to the original song, making it something definitely special), and Cedric's wonderful vocals (that despite singing in Spanish are able to transcribe the studio elements on a live setting on a wonderful way, achieving some remarkable high notes and improvising on a very unique way with his times). It all makes up for an excellent track to be appreciated by both audiences and listeners. It all leads into the classic closer of this tour, Cassandra Gemini, being a nice rendition of the track, having the enhanced elements seen on L'Via bleeding through, making up for a great track to end a gig with (that is sadly dragged down by the sudden shift in sound quality seen at the middle of the song).
This San Diego performance is not perfect, and it could have been something better executed in some regards, but it still has a lot to offer. What can be seen here is an enjoyable concert, definitely a great way to start the second stretch of the tour, with a lot of different elements to admire. The set is as immersive, intense, and layered as ever, and the re-arrangement of the setlist makes up for a very dynamic and surprising experience that manages to balance all the elements that it has to its disposition. It is a shame that the sound quality can't be improved that much, since this has some fantastic renditions of tracks accompanied by impressive performances. It is something that definitely deserved better in that regard, but that ends up getting dragged down due to how unbalanced it can feel as a whole, even after multiple listens. But even with all those issues, this is still something incredibly enjoyable.
Sound Quality: 7/10
Overall Rating: 7/10
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
The Mars Volta finished their month long break after finishing the first stretch of their tour in promotion of Frances The Mute in March, not long after the american release of the album had taken place, and then returned to their live performances in order to appear in different parts of the United States by late April. This new part of the tour was already starting to present some noticeable improvements compared to the previous gigs, even very early on with the San Diego performance, with some major differences being the live debut of L'Via L'Viaquez and much more polished, precise instrumental performances from all members of the band, with every single one of them having an important role in how the songs turned out in the final product (most notably an increase in the recognition that Marcel, Adrian, and Ikey deserved with their respective talents). This would only keep on improving even more with the following dates, leading to some of the more iconic and impressive concerts from the band. But this could be seen even not long after the RIMAC show, most particularly on the recording of April 29, a concert that took place on the Tabernacle in Atlanta, Georgia.
To put it on a very simple and straight forward way: this is a noticeable improvement over the recording and performance that could be found on the San Diego bootleg, and it is definitely a better way to experience what was being offered that night (despite the fact that these performances, and this new arrangement of the set in particular, would have much better renditions not long after). The important factor that makes this be the case is very simple: the sound quality is much better. It is not a perfect quality for a bootleg or a concert such as this, since many different issues appear across the entire recording, affecting the overall experience, and dragging it down as a whole. There were two cited sources from the person who recorded the show, and he managed to mix them together in order to achieve a more complete sound, but there are a lot of rough spots to be found here. The vocals are much more balanced before, but they are thrown a little bit too much to the background along side the instrumentals. It is not something that is all that noticeable on speakers, but on closer inspection it does require some time in order to get used to (but it also presents sudden shifts in volume in that regard, once again, most notably on the middle section of Cassandra).
After Cygnus, before transitioning to L'Via, these is a rather odd choice for a but, maybe trying to resemble the fade-out / fade-in that happens between the different sides of a vinyl, but it is completely unnecessary and it messes the pace of a non-stop concert on an evident way. The crowd noise is not annoying, but there are some segments where it is very much something distracting. As for the concert itself, some things are changed, creating a set that would be the norm for the following dates of the tour. The long rendition of Drunkship kicking things off, with Concertina following right after in all its noticeable energy. Take The Veil going into Cygnus while being some great renditions, and it all goes into the fantastic highlight of L'Via L'Viaquez. It all flows seamlessly, until getting to the final stretch of Roulette Dares, The Widow, and Cassandra Gemini, closing up the concert on a very impressive way. The energy carried from the San Diego performance bleeds through, and it is all improved, making it for a much better archive of those songs being played live during that time, as well with many different details that make the overall playing something much tighter and well crafted. This particular setlist would continue for a big portion of May, and it would bring some very impressive and recognized concerts from the band, so for this being a starting point in that regard makes this something fascinating to listen to.
In the end, the major issues rely on the sound quality. All those minor issues end up making for noticeable problems that could have been much better in order to improve the recording instead of dragging it down. But even then, this is an incredibly enjoyable collection of tracks showing a band that kept on improving on a live setting. It wouldn't be the best rendition of this arrangement of tracks, but it is still something recommended for fans to listen to, only asking if they can overlook those little details that mess with the performances in order to appreciate such a wonderful live concert.
Sound Quality: 7.5/10
To put it on a very simple and straight forward way: this is a noticeable improvement over the recording and performance that could be found on the San Diego bootleg, and it is definitely a better way to experience what was being offered that night (despite the fact that these performances, and this new arrangement of the set in particular, would have much better renditions not long after). The important factor that makes this be the case is very simple: the sound quality is much better. It is not a perfect quality for a bootleg or a concert such as this, since many different issues appear across the entire recording, affecting the overall experience, and dragging it down as a whole. There were two cited sources from the person who recorded the show, and he managed to mix them together in order to achieve a more complete sound, but there are a lot of rough spots to be found here. The vocals are much more balanced before, but they are thrown a little bit too much to the background along side the instrumentals. It is not something that is all that noticeable on speakers, but on closer inspection it does require some time in order to get used to (but it also presents sudden shifts in volume in that regard, once again, most notably on the middle section of Cassandra).
After Cygnus, before transitioning to L'Via, these is a rather odd choice for a but, maybe trying to resemble the fade-out / fade-in that happens between the different sides of a vinyl, but it is completely unnecessary and it messes the pace of a non-stop concert on an evident way. The crowd noise is not annoying, but there are some segments where it is very much something distracting. As for the concert itself, some things are changed, creating a set that would be the norm for the following dates of the tour. The long rendition of Drunkship kicking things off, with Concertina following right after in all its noticeable energy. Take The Veil going into Cygnus while being some great renditions, and it all goes into the fantastic highlight of L'Via L'Viaquez. It all flows seamlessly, until getting to the final stretch of Roulette Dares, The Widow, and Cassandra Gemini, closing up the concert on a very impressive way. The energy carried from the San Diego performance bleeds through, and it is all improved, making it for a much better archive of those songs being played live during that time, as well with many different details that make the overall playing something much tighter and well crafted. This particular setlist would continue for a big portion of May, and it would bring some very impressive and recognized concerts from the band, so for this being a starting point in that regard makes this something fascinating to listen to.
In the end, the major issues rely on the sound quality. All those minor issues end up making for noticeable problems that could have been much better in order to improve the recording instead of dragging it down. But even then, this is an incredibly enjoyable collection of tracks showing a band that kept on improving on a live setting. It wouldn't be the best rendition of this arrangement of tracks, but it is still something recommended for fans to listen to, only asking if they can overlook those little details that mess with the performances in order to appreciate such a wonderful live concert.
Sound Quality: 7.5/10
Overall Rating: 8/10
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
IMPORTANT NOTE: This is not the concert that has video footage available online and on forums, that would be the second night that the band performed at the Electric Factory during that tour.
Of course, this era of the band is incredibly divisive, between outsiders and people who really love the band, with others maybe even considering such a show to be something tiring, unnecessary, and "wanky"; but in the end it being something really special to witness even after so many years, to see what distinguished the band from many other acts at the time, with their own onstage presence and unique performances.
Following their tour in promotion of Frances The Mute, The Mars Volta had already finished their first few gigs at the end of April in order to warm up for their future American concerts. They had already started to show a lot of promise for what would be this part of the journey, adding new elements to their European counterparts, which already provided for some impressive performances, like the live debut of L'Via L'Viaquez and its implementation as a common part of the sets from that point forward and the fact that they rearranged their gigs in order to keep a different and unique feeling for every different night. All the members in the band kept giving their all in order to provide for great performances, showing their evolution from what was seen before on the De-Loused tour, carrying the energy into extensive renditions of some tracks, as well as showing that their new songs had some incredible potential in that setting. And that could be seen night after night, even without a very big time gap between concerts. Such is the thing with the thing that happened after their concert in Atlanta, Georgia, with the band moving to perform at the Electric Factory in Philadelphia, starting their first of two concerts that would be given there, in May 1st.
If there is one thing that can't be denied by most fans it's the fact that Volta's run during those years provided some of the most engaging, immersive, and fascinating performances from the band's career. However, and one thing that happens with many other musical acts as well, finding a good quality recording of these concerts is certainly an achievement in it of itself. It is something that keeps being the norm with this tour. The performances are really impressive, with a lot of things to take from regardless of the concert that is being listened to, but the thing that drags most of these down to an unbelievable degree is the really inconsistent sound quality, with some times it being much more bearable than the others. Many different facts can contribute to these recordings ending up the way they did, from crowd noise, the echo created by the venue, to the positioning of the person who recorded the show, it all varies a lot depending on the gig itself. For this particular concert, three sound sources can be found, each one presenting different issues that the tapers encountered with, creating different end results. Even if trying to mix the different tapes into one balanced recording, these issues make that possibility something hard to achieve, which is why it is better to look at these individually.
Source 3: Sony Net MD Walkman MZ-505 Type-R
The third source is easily the weakest one of the group. Starting out on a very evident way, indicative of what would come, with the version of A Fistful of Dollars being very far in the background (starting on a very low volume while the tapper is setting all up), even at high volume, with the following mini jam before Drunkship giving an idea of how far the taper was from the stage, with the sound quality letting most of the instruments be heard, but with some of them clearly overshadowing the others. Many issues come to be during the recording, like about a one minute cut-out during Drunkship due to the mic input falling out, the tape flipping and breaking up the pacing aft the end of Cygnus transitioning into L'Via, or the convoluted audio that can be perceived from Take The Veil to Roulette Dares. It is all made worse with the low volume in the final mix, maybe something to do with the way it was converted into this media, something that even in full volume keeps making a lot of the elements become almost unnoticeable (and even with using speakers only, it doesn't really do all that much for saving this sound quality). Definitely something that could have been much more, but the gear, positioning, and issues during the recording drag the reliability of this source down. It is something that does end up being annoying, even after a few listens, being something odd to get used to.
Sound Quality: 5.5/10
Source 1: Sony Mic > D100
The first source is, without a doubt, the best one. It is much more cleaner, and doesn't have any sort of odd filter or rare sound qualities to be found, making it the best recording to get in order to try and appreciate what this show had to offer. However, this is not without its fare share of problems, with some elements of the band feeling too much in the background, while others come in different parts and volumes in the mix (just listening to how clear the audience sounds at times by clapping or random conversations going on gives an idea that this could have picked up the band with a much better sound quality if the taper had a better position in the end). The volume of the channels changes at times, flowing from one to the other at what seems to be rather unexpected and random times, with the reason why not being so clear in the end. This is also the recording where the crowd noise is the most audible, with the echo of the venue affecting some of the songs as well, but compared to the other two this is much more bearable and easier to adapt to. It is not perfect, but a lot of different factors were the ones affecting this source, and even if fans can be glad to have this in order to get impressed with what the band had to offer, it keeps on dragging down the potential of what is one of the most impressive shows from that particular tour.
Sound Quality: 7.5/10
Even then, with all the different sound qualities found on the many recordings of this concert, it is not enough to make something like this justice. The show that was performed that night is one of the longest to be found on this tour, a two hour and a half behemoth that portrayed all the things that made the band unique on a very impressive way. The band went out of their way to flesh out their jamming on a very fascinating way, with the use of their many influences and even getting to use elements from other songs on their catalog. The non-stop feeling that is conveyed throughout this entire concert is pulled off on a much more balanced way with the transitions between songs, and the songs themselves have some very strong renditions to be found here. Everyone has their role, and the percussion use is implemented even more, but the sound quality barely lets all of that to be appreciated in the end result, which is nothing less of a shame.
The concert starts off with one of the longest renditions of Drunkship to be found on this tour, with its execution rivaling that one of Berlin, being a thirty+ minute musical bonanza that shows how special the chemistry between the members was during that era. All the elements from previous extended versions of this track are brought back and expanded with new ones, and every single member has their important role in the end result, carrying everything forward with their coordination, talent, and onstage dominance. Everything flows seamlessly, eventually fading the jam parts in order to unexpectedly return to the main track, making everything feel energetic and well carried, despite the length that the track ends us getting. Concertina follows right after as a break of the immersive and dense opener, with Cedric's vocals being as tight in the performance as ever, and minor elements like Adrian's saxophone coordination with Omar's guitar, or Jon's bombastic drumming being much more energetic than earlier performances of the song, adding to a much more polished rendition of a classic song from their early catalog. Take The Veil has one of its longest versions present here, with the band starting to implement even more elements into the jam without losing the initial pace, getting an intense, loose, and lively performance that is instantly contrasted with the calm and tense transition into Cygnus.
Of course, this era of the band is incredibly divisive, between outsiders and people who really love the band, with others maybe even considering such a show to be something tiring, unnecessary, and "wanky"; but in the end it being something really special to witness even after so many years, to see what distinguished the band from many other acts at the time, with their own onstage presence and unique performances.
Following their tour in promotion of Frances The Mute, The Mars Volta had already finished their first few gigs at the end of April in order to warm up for their future American concerts. They had already started to show a lot of promise for what would be this part of the journey, adding new elements to their European counterparts, which already provided for some impressive performances, like the live debut of L'Via L'Viaquez and its implementation as a common part of the sets from that point forward and the fact that they rearranged their gigs in order to keep a different and unique feeling for every different night. All the members in the band kept giving their all in order to provide for great performances, showing their evolution from what was seen before on the De-Loused tour, carrying the energy into extensive renditions of some tracks, as well as showing that their new songs had some incredible potential in that setting. And that could be seen night after night, even without a very big time gap between concerts. Such is the thing with the thing that happened after their concert in Atlanta, Georgia, with the band moving to perform at the Electric Factory in Philadelphia, starting their first of two concerts that would be given there, in May 1st.
If there is one thing that can't be denied by most fans it's the fact that Volta's run during those years provided some of the most engaging, immersive, and fascinating performances from the band's career. However, and one thing that happens with many other musical acts as well, finding a good quality recording of these concerts is certainly an achievement in it of itself. It is something that keeps being the norm with this tour. The performances are really impressive, with a lot of things to take from regardless of the concert that is being listened to, but the thing that drags most of these down to an unbelievable degree is the really inconsistent sound quality, with some times it being much more bearable than the others. Many different facts can contribute to these recordings ending up the way they did, from crowd noise, the echo created by the venue, to the positioning of the person who recorded the show, it all varies a lot depending on the gig itself. For this particular concert, three sound sources can be found, each one presenting different issues that the tapers encountered with, creating different end results. Even if trying to mix the different tapes into one balanced recording, these issues make that possibility something hard to achieve, which is why it is better to look at these individually.
Source 3: Sony Net MD Walkman MZ-505 Type-R
The third source is easily the weakest one of the group. Starting out on a very evident way, indicative of what would come, with the version of A Fistful of Dollars being very far in the background (starting on a very low volume while the tapper is setting all up), even at high volume, with the following mini jam before Drunkship giving an idea of how far the taper was from the stage, with the sound quality letting most of the instruments be heard, but with some of them clearly overshadowing the others. Many issues come to be during the recording, like about a one minute cut-out during Drunkship due to the mic input falling out, the tape flipping and breaking up the pacing aft the end of Cygnus transitioning into L'Via, or the convoluted audio that can be perceived from Take The Veil to Roulette Dares. It is all made worse with the low volume in the final mix, maybe something to do with the way it was converted into this media, something that even in full volume keeps making a lot of the elements become almost unnoticeable (and even with using speakers only, it doesn't really do all that much for saving this sound quality). Definitely something that could have been much more, but the gear, positioning, and issues during the recording drag the reliability of this source down. It is something that does end up being annoying, even after a few listens, being something odd to get used to.
Sound Quality: 5.5/10
Source 2: Core Sound Binaurals > Core Sound Battery Box (filter on) > Nomad Jukebox 3
This second source is an improvement over what was seen before, but the result is not that much better overall. The taper used a filtered device, then transferred and adapted into different sources until getting to the final product available for download, but the end result was something that was still odd in the balance of the instruments and the volume of the entire concert. There isn't crowd noise or echo, as well as any sort of abrupt cut going on at given moments, affecting this recording, but the elements seem to overshadow each other at times. It is something much more tolerable than the third source, but it still takes a lot of time to get used to, and it definitely doesn't do justice to what is going on in the performances.
This second source is an improvement over what was seen before, but the result is not that much better overall. The taper used a filtered device, then transferred and adapted into different sources until getting to the final product available for download, but the end result was something that was still odd in the balance of the instruments and the volume of the entire concert. There isn't crowd noise or echo, as well as any sort of abrupt cut going on at given moments, affecting this recording, but the elements seem to overshadow each other at times. It is something much more tolerable than the third source, but it still takes a lot of time to get used to, and it definitely doesn't do justice to what is going on in the performances.
Sound Quality: 6.5/10
Source 1: Sony Mic > D100
The first source is, without a doubt, the best one. It is much more cleaner, and doesn't have any sort of odd filter or rare sound qualities to be found, making it the best recording to get in order to try and appreciate what this show had to offer. However, this is not without its fare share of problems, with some elements of the band feeling too much in the background, while others come in different parts and volumes in the mix (just listening to how clear the audience sounds at times by clapping or random conversations going on gives an idea that this could have picked up the band with a much better sound quality if the taper had a better position in the end). The volume of the channels changes at times, flowing from one to the other at what seems to be rather unexpected and random times, with the reason why not being so clear in the end. This is also the recording where the crowd noise is the most audible, with the echo of the venue affecting some of the songs as well, but compared to the other two this is much more bearable and easier to adapt to. It is not perfect, but a lot of different factors were the ones affecting this source, and even if fans can be glad to have this in order to get impressed with what the band had to offer, it keeps on dragging down the potential of what is one of the most impressive shows from that particular tour.
Sound Quality: 7.5/10
Even then, with all the different sound qualities found on the many recordings of this concert, it is not enough to make something like this justice. The show that was performed that night is one of the longest to be found on this tour, a two hour and a half behemoth that portrayed all the things that made the band unique on a very impressive way. The band went out of their way to flesh out their jamming on a very fascinating way, with the use of their many influences and even getting to use elements from other songs on their catalog. The non-stop feeling that is conveyed throughout this entire concert is pulled off on a much more balanced way with the transitions between songs, and the songs themselves have some very strong renditions to be found here. Everyone has their role, and the percussion use is implemented even more, but the sound quality barely lets all of that to be appreciated in the end result, which is nothing less of a shame.
The concert starts off with one of the longest renditions of Drunkship to be found on this tour, with its execution rivaling that one of Berlin, being a thirty+ minute musical bonanza that shows how special the chemistry between the members was during that era. All the elements from previous extended versions of this track are brought back and expanded with new ones, and every single member has their important role in the end result, carrying everything forward with their coordination, talent, and onstage dominance. Everything flows seamlessly, eventually fading the jam parts in order to unexpectedly return to the main track, making everything feel energetic and well carried, despite the length that the track ends us getting. Concertina follows right after as a break of the immersive and dense opener, with Cedric's vocals being as tight in the performance as ever, and minor elements like Adrian's saxophone coordination with Omar's guitar, or Jon's bombastic drumming being much more energetic than earlier performances of the song, adding to a much more polished rendition of a classic song from their early catalog. Take The Veil has one of its longest versions present here, with the band starting to implement even more elements into the jam without losing the initial pace, getting an intense, loose, and lively performance that is instantly contrasted with the calm and tense transition into Cygnus.
The way Cygnus starts is unexpected, a musical explosion that does justice to the studio version by being a very energetic and precise rendition, managing to replicate the various studio elements on a live setting, but also expanding them in order to offer more with the performance, but it also goes to show how much the band had changed things up since their previous performances. The debut of the tracks from Frances The Mute meant that the jamming had to change for many tracks, but the band still managed to carry everything forward on a very impressive way in that regard, and it all felt natural and without any sort of extra elements being forced in whatsoever. The way that the band was able to offer dynamic sets every night was the thing that made them earn the reputation that they got during that point o their career, and it definitely shows, regardless of the sound quality. Cygnus ends on a calm way, with Juan's Con Safo bassline being looped over and over, with Cedric improvising some lyrics, eventually stepping down and giving way to Omar's guitar to start introducing, on an almost subtle way, the main guitar line of L'Via, while the atmospheric effect created by the pedal and the sound manipulation gives the members some time to rest in order to get prepared for the next track, with the proper studio transition to L'Via taking over and kicking off one of the definitive highlights of the entire show.
The way L'Via is carried forward, with the guitar solos, the atmospheric salsa influenced segments, and the improvised outro, is genuinely some of the best things to come out of this entire tour. Every single night this song manages to become something truly special, regardless of the main song (which is a masterpiece in it of itself), with the loose outro showing the potential of every single member from the band (but particularly letting space for Adrian's percussion abilities and Ikey's talent on the keyboard to shine, with Omar and Cedric following right after). It all fades out slowly, leaving Cedric's voice to keep stating the iconic line from the song, until everything dies down transitioning into Roulette Dares. The rendition of the actual song is as energetic and iconic as ever, but the version that can be found here is one of the longest ones from the song, particularly because the end segment is extended with the atmospheric jamming calming things down, but also showing the range of tones that the band is able to take at any given moment, eventually dying down in order to let a great version of The Widow take the lead. This is one of the more studio oriented versions of the track to be found on this tour, with the only thing dragging it down being the underwhelming sound quality found throughout all the different sources of this show. The small jam after The Widow changes the tone suddenly, keeping things tense and misleading in order to get to the intense and long closer in the form of Cassandra Gemini. As with every single show of this tour, this is a track that must be listened to in order for it to be fully understood. This is a very particular rendition of the song however, since it hints at many other tracks throughout the duration of the jamming, going from different songs from the band's many influences, to hints at the main riff of Frances The Mute, and even vocal melodies from Eunuch Provocateur. Definitely a highlight of the entire set, a great way to end a concert, and a statement of the band embracing their particular style and way of dominating the stage with their unique presence.
If the sound quality from any of the sources was much cleaner and balanced in the mix (with the instrumentals being polished enough to be appreciated and the different issues with the channels being fixed), this would be, without any sort of doubt, one essential recording from this period of the band. However, the lacking sound quality drags the entire experience down, and doesn't let some elements be fully appreciated in the end result, which truly is a shame. But still, I would personally recommend any fan of Frances The Mute and De-Loused to check out this concert. A long show that shows the huge potential of the band at the time, being very intense, energetic, and immersive; managing to be really enjoyable in the end, despite all the off putting qualities that the different sources might present.
Overall Rating: 7.5/10
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
https://youtu.be/A7OocJUWZuU
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DVD Source:
Sound Quality: 8/10
Overall Rating: 7.5/10
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
https://youtu.be/A7OocJUWZuU
Source 1:
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DVD Source:
Sound Quality: 8/10
Overall Rating: 7.5/10
Favorite Track: L'Via L'Viaquez / Cassandra Gemini
Used in Scabdates
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