10 years of De-Loused In The Comatorium

dethroned by the comatorium / de-loused in the comatorium


dethroned by the comatorium / de-loused in the comatorium

De-Loused In The Comatorium veniva pubblicato esattamente 10 anni fa, il 24 giugno 2003. Una data frutto dell’ennesimo ritardo, purtroppo necessario in seguito alla tragica scomparsa di Jeremy Ward in una pausa del tour che impegnava la band con i Red Hot Chili Peppers. Involontariamente, un episodio che ha contributo a permeare ulteriormente il disco con il titolo rubato dal testo di Eunuch Provocateur, terza traccia dell’ep Tremulant, di quell’alone cupo necessario per descrivere la vicenda altrettanto tragica di Cerpin Taxt, specchio della vita e dell’altrettanto tragica scomparsa di Julio Venegas, oltre alla permanenza e alle registrazioni al Mansion Studios di Laurel Canyon condite da aneddoti leggermente sinistri, sotto la guida del padrone di casa Rick Rubin. In mezzo, session di registrazioni dall’alba alla notte, la necessità di mettere una pezza all’allontanamento della bassista Eva Gardner e il reclutamento di Flea, insieme all’amicizia di Omar con Frusciante, coinvolto a registrare una parte dopo un volo in aereo fino al coinvolgimento di Storm Thorgerson per la realizzazione della copertina e dell’artwork nonché la pubblicazione, dopo qualche mese, di un booklet contenente non solo i testi ma proprio l’intera storia dietro all’album, scritto da Cedric con il contributo di Jeremy Ward.

Amato, odiato, bistrattato o idolatrato, massacrato da Pitchfork ma finito in molte classifiche di gradimento di quell’anno, pubblicato con la band intenta a riprendersi e a riprendere l’attività live, dando luogo a concerti ancora feticcio per i fan, come quello all’Electric Ballroom o al Lowlands Festival, DITC probabilmente fotografa magnificamente la nuova vita di Omar e Cedric dopo l’abbandono degli At The Drive-In, sospeso tra il post hardcore che fu e i Mars Volta che verranno, pure in grado di realizzare un opus magnum come Frances The Mute e votati poi a un percorso onnivoro, fin troppo. Ed è così che oggi DITC resta l’opera cui la band viene maggiormente associata, la più compiuta probabilmente. Un disco ancora da vivere come un’unica traccia di un’ora, detto banalmente, dalle note di tastiera di Son Et Lumiere alla coda di Take The Veil, cercando ancora di captare nuovi suoni o di decodificare le parole dei testi.

Per chi scrive, l’album che ha contribuito a farmi scoprire tanta altra musica senza preclusioni oltre, va da se, ad amare i Mars Volta nel bene e nel male. Un po’ triste pensare che la band si sia malamente dissoluta a pochi mesi da questo anniversario (e solo un paio di mesi fa la scomparsa di Storm Thorgerson), sarebbe bello sapere cosa ne pensano quantomeno gli stessi Omar e Cedric (senza nulla togliere ad Ikey e Jon) oggi di DITC, mentre sono impegnati nelle loro nuove vite artistiche.

Intanto, noi vi abbiamo approntato questo articolo, con estratti di interviste, testi e video, non è una scheda dei dati del disco quanto una serie di ‘curiosità’, legate all’album stesso, espresse da Omar Rodriguez-Lopez e Cedric Bixler Zavala.

Buona lettura e buon ascolto. (Piero A.)

it’s been said, long time ago you’ll be the first and last to know….you’ll never know….you’ll never know

Julio Venegas

Julio was an artist in every sense of the word, he was an extreme person. He lived every day getting himself into situations and always getting lost, so he had scars all over his body that let you know the places where he had been. When his mother died, he tried to kill himself. He shot up a bunch of morphine, but he didn’t succeed; he went into a coma. And when he came out of it, he had lost the ability to use the right side of his body. He had to learn to walk again, and once he did, he walked very awkwardly. One time he just combined different chemicals together and shot them up, and it shriveled up his arm.

(Omar Rodriguez-Lopez)

So tell me about your friend that just passed, what made you write a CD to tribute him? I mean what kind of a person was he to influence you like that.

He was our mentor. He taught us everything that created what we are today basically. I think our asthetic as far as artists are concerned, the applification of the non-musician and the true definition of what we believe to be punk rock music. Which means to throw out all the rules and not to have a uniform and not to copy what the bands look like, but to have them influence you and not be carbon copies of what’s out there. Which is what I think is a lot of the problem with rock music today, is that people don’t know how to take influence and influence them. They become exactly what they see, they become parodies. And our friend Julio, he taught us that anything from Lenny Bruce to King Crimson to The Swans to Andy Coffman to Sylvia Plaft, is pretty much considered, it’s an example of punk rock music.

Not so much the American version that everybody gets caught up in. You kind of stepped out with that with your former band At
the Drive-In, but I read that you guys didn’t want that kind of stamp so you just kind of threw that aside and came up with The
Mars Volta. Which was really cool.

Julio is just an example of a starving artist, someone who was always struggling. And when your struggling I think your
art shows, and he was a living walking embodiment of what art is or it should be. So therefor it is our going away present to
him, and what better way to give someone a present than to have a whole album about them.

It’s a great tribute. Kind of reminds me of Pink Floyd, when they did their thing for Syd Barret, Shine on you Crazy Diamonds. Was that a little bit of the idea, that you got?

Well he’s our Syd Barret. But yeah, Syd Barret’s an influence so definatley, but we don’t want to rip off Floyd or anything.

(Cedric Bixler-Zavala)

Rick Rubin

Yeah, you can feel in the music that you guys are really letting loose with what you finally wanted to do. I noticed that you have a tandem production credit with Rick Rubin and I’m wondering how you guys worked together. Were you a bit in awe of the process? What did you contribute versus what he contributed?

First off, I think we worked really well together. I wasn’t in awe and there was nothing separating us, you know? It was two people who really enjoyed each other’s presence working on a project together. Rick really helped with the arrangements and with helping us come back from our tangents, you know? I always think of Rick as this guy: You know when you move into a new place and you wanna put up a painting? When you’re standing so close to it the painting looks straight but you have your friend in the back of the room who tells you, “No, it needs to be a little higher to the right.”

Right!

And then you don’t believe him and you go, “No I think it’s straight.” And they’re saying, “No, trust me, just put it up a little more to the right and come back to the back of the room and look at it and if you don’t like it you can put it back to where it was.” And then you say okay and you hang it and you stand in the back of the room and you go, “Oh okay, I see what you’re saying now!” He’s kind of like that.

I’m so close to the music, being the songwriter and whatever else, that it’s really easy to just get lost in tangents or in self-indulgence. He really helped to guide us through that. I was there to provide what the record sounds like. He definitely did his work on the drums but I was there to get the tones for the bass and the guitars and the keyboards and decide the proper arrangements, decide what takes to use and the layering of everything. Even down to the mixing. I pretty much took over the mixing and just did it myself there with Rich Costey.

(Omar Rodriguez-Lopez)

He’s a sweetheart, very soft spoken human being, who knows how to criticize you without hurting your feelings. Most producers kind of tear you apart and you never wanna play music again. Rick’s just a gentle man and we met him cuz he was a fan
of At the Drive-In. He started coming to shows and he wanted to help out. We got to know him at his house and we asked if we
could do it at the old Houdini house.

(Cedric Bixler Zavala 2003)

Yes Rick Rubin had a commanding presence on Deloused and I am so beyond pleased with the result. I talked a lot of stupid mad shit and was in a bad head space so I could not appreciate him. He rules and is a fucking master hands down. I honestly wish I could work with him again

(Cedric Bixler Zavala 2011)

Storm Thorgerson

What was it like getting the concept conveyed to Storm Thorgerson so it could be depicted visually? Was there a lot of discussion and drafting?

Definitely. It was great. He was exactly what we wanted – he was somebody who put just as much energy into the visual appearance of the record as we did into the music and into the words. Right away we needed to send him all the music and all the lyrics printed out, and then we would spend tons of time on the phone just discussing it. Not only discussing our story but also our personal lives, where we were from, how we grew up, what it was like to know this person who the record is about. And even then he wasn’t ready – then he really wanted to meet us. The way he saw it was the more information he got from us and the more feeling he got from us, the fewer ideas that he would have – the more it would come down to a finer point. Exactly in the way that we were discussing earlier about the track listing, you know? The more information we knew about the story once it became a concept, the less ideas that we had and the less things we could do. We kind of got narrowed down. So it’s a really great and liberating process even though it might sound strange to say that it gives you less ideas.

(Omar Rodriguez-Lopez)

John Frusciante

John just got off the plane and… Yeah he played on one track. He does like on Ciciatriz ESP, when it breaks down in to this ambient part, he does a lot of the affected parts. And he also does a dueling solo, it sounds so funny dueling solo, but he does like a dueling thing with Omar on there. Yeah, he just got off the plane, came over, and I watched them do it. It was fun.

(Cedric Bixler Zavala)

demos

(thanks to The Comatorium
demo 2001: Roulette + Cicatrix
demo 2002: Deloused Summer Demo Sessions
More demos/edit:
Televators ‘no percussion’
Caught In The Sun + Plague Upon Your Hissing
Concertina ‘post Tremulant
Bonus track UK / JAP – GSL50 comp: Ambuletz

official videos

the album

son et lumiere

clipside of the pinkeye flight I’m not the percent you think survives. I need sanctuary in the pages of this book.
Gestating with all the other rats, nurse said that my skin will need a graft, I am of pock marked shapes, the vermin you need to loathe…

inertiatic esp

Now I’m lost… now I am lost. Last night i heard lepors, flinch like birth defects, it’s musk was fecal in origin as the words dribbled off of its chin, it said, “I’m lost………now i am lost……,” Dolls wreck the minced meat of pupils, cast in oblong arms length. The hooks have been picking their scabs, where wolves hide in the company of men. It said, “I’m lost……now i am lost……” Are you peaking in the red?
Perforated at the neck. What of this mongrel architect, a broken arm of sewers set, past present and future tense; clip side of the pinkeye fountain…… “Now I’m lost……now I am lost,” it’s been said, long time ago you’ll be the first and last to know….you’ll never know….you’ll never know

roulette dares {the haunt of…}

Transient jet lag ecto mimed bison, this is the haunt of roulette dares. Ruse of metacarpi, caveat emptor….to all that enter here. Open wrist talk back again in the wounds of its skin, they’ll pinprick the witness in ritual contrition. The am trinity fell upon asphyxia-derailed, in the rattles of… made its way through the tracks of a snail slouching whisper,
a half mass commute through umbilical blisters.
Spector will lurk, radar has gathered…. midnight neuces from boxcar cadavers. Exoskeletal junction at the railroad, delayed. It’s because this is…… cranial bleeding, leaches train the living – cursed are they who speak its name. Ruse of metacarpi,caveat emptor to all that enter here. Exoskeletal junction at the railroad delayed, it’s because this is….rattling the laughter hinges splintering inside..bludgeoned to a saddle, rang the cloister bell inside…inside…. Exoskeletal junction at the railroad delayed… Exoskeletal junction at the railroad delayed..
it’s because this is…

tira me a las aranas

drunkship of lanterns

You’ve got the lot to burn. A shelve of pig smotherd cries. Is there a spirit that spits upon the exit of signs? Is anybody there? These steps keep on growing long. Bayonet trials rust propellers await….No…Nobody is heard, rowing sheep smiles for the dead. Nobody is heard..an antiquated home. A float with engines on mute. Sui generis ship spined around the yard. Is anybody there? These craft only multiply. At the nape of ruins rust propellers await…. No… Nobody is heard, compass wilting in the wind. Nobody is heard. Rowing sheep smile for the dead. Transoceanic depth in this Earth – in this cenotaph. Lash of one thousand eye brows clicking. Counting the toll. Counting the toll. You’ve got the lot to burn. A shelve of pig smothered cries. Is there a spirit that spits upon the exit of signs. Is anybody there? These steps keep on growing long. Bayonet trials rust propellers await.. Nobody is heard, compass wilting in the wind. Nobody is heard, rowing sheep smile for the dead. Transoceanic depth in this Earth in this cenotaph.Carpel jets…Hit the ground. Carpel jets…Hit the ground..Lash of one thousand eyebrows clicking. Counting the toll. Counting the toll. Lash of one thousand eyebrows clicking. Counting the toll.
Counting the toll.

eriatarka

And there are those who hadn’t found the speaking so wrong, is it wrong? Of pavolov lore, they ran rampant through the floors, is this wrong? Feels so wrong…happened on a respirator in the basements. Are they gone? Are they gone?… Stung the slang of a gallows bird.. rationed a dead letter pure. Trackmarked amoeba lands craft ,cartwheel of scratches,dress the tapeworm as pets. Tenticles smirk please, flinched the cocooned meat, infra-recon forgets. Now there are those who find comfort in the breathing wrong, is it wrong? It houses the watchful eyes, they’re panting in a pattern in droves, are they gone? Happened on a respirator, in the basement is it gone? Are they gone Stung the slang of a gallows bird. Sanctioned a dead letter pure. Trackmarked amoeba lands craft. Cartwheel of scratches….dress the tape worm as pets. Tentacles smirk please flinch the cocooned meat infra-recon forgets. Evaporated the fur, because it covers them.
If you only knew the plans they had for us. Evaporated the fur, because it covers them. If you only knew the plans they had for us. They used to have pulses in them, but impulse has made the strong.
They used to have pulses in them, but impulse has made them strong. Evaporated the fur… because it covers them. If you only knew the plans they had for us. Trackmarked amoeba lands craft, cartwheel of scratches dress the tapeworm as pets.. Tentacles smirk please, flinch the cocooned meat.. Infra-reco forgets. Gotta be a way..of getting out. Are you just growing old? Trackmarked amoeba lands craft, cartwheel of scratches, dress the tapeworm as pets

cicatriz esp

Do you recall it’s name ? As it suggested beck and call, this face and heel. Will drag your halo through the mud, ash of pompei. Erupting in a statues dust, shrouded in veils, because these handcuffs hurt to much. Still scalping these ticketless applause. And when they drag the lake there is nothing left at all. Seutured, contusion..beyond the anthills of the dawning of this plague. I’ve lost my way. Even if this cul de sac would pay. To reach inside a vault, whatever be the cost. Sterling clear blackened ice, and when they drag the lake there’s nothing left at all. I’ve defected……I’ve defected…..I’ve defected. This is my last incision…the stitches have defected. Beyond the anthills of the dawning of this plague. I’ve lost my way, even if this cul de sac did pay….beyond the anthills of..I’ve lost my way. Even if you reach inside a vault, whatever be the cost. Sterling clear blackened ice.. And when they drag the lake there’s nothing left at all. I’ve defected…… I’ve defected…..

This Apparatus Must Be Unerthead

I’ve been waiting for so long, for someone to mend all the blame. I’ve been searching for so long,for something to..Anonymous..avenge my name. Anonymous..avenge my name. You came here on time, I hope that it’s not to late.
I’ve seen you at night, biting the frost of silence. Can you cure us of this fate? Mock the litany in its face. Is that you moatilliatta?? I’ve been waiting for so long.. for someone to mend all the blame. I’ve been searching for so long for something to.
Anonymous….avenge my name…anonymous….avenge my name hex zero rouge…He’ll hybernate no more. The altars run dry prefect dictate your final words, does it sting of augur truth? Was your temple left in ruins is that you moatilliatta??
I’ve been waiting for so long, for someone to mend all the blame. I’ve been searching for so long for something to. Anonymous… avenge my name…anonymous…avenge my name. This is the altar, the one that you let me die in. On your knees…how you wept….much like omertta, quiet has shielded all intent, on the ground it appears, like wrath. Avenging the lamb as bait… In a bed of nails you made….who made this effigy? Is there straw dressed in these fields? and now it won’t be long… I’ve been waiting for so long… for someone to mend all the blame. I’ve been searching for so long…for something to. Anonymous…avenge my name

Televators

Just as he hit the ground, they lowered a tow that stuck in his neck to the gills. fragments of sobriquets..riddle me this..three half eaten cornias,
who hit the aureole…stalk the ground…stalk the ground. You should have seen the curse that flew right by you. Page of concrete,stained walks crutch in hobbled sway. Autodafe..a capulary hint of red.. Only this manupod crescent in shape has escaped. The house half the way..fell empty with teeth that split both his lips, mark these words. One day this chalk outline will circle this city. Was he robbed of the asphalt that cushioned his face? A room colored charlatan hid in a safe…stalk the ground…stalk the ground. You should have seen the curse that flew right by you. Page of concrete, stain walks crutch in hobbled sway. Autodafe…a capulary hint of red. Only this manupod crescent in shape has escaped. Pull the pins…save your grace…mark these words on his grave.
Pull the pins…save your grace…mark these words on his grave. You should have seen the curse that flew right by you. Page of concrete, stain walks crutch in hobbled sway.
Autodafe..a capulary hint of red. Everyone knows the last toes are always the coldest to go.

Take the veil Cerpin Taxt

You must have been phlegmatic in stature. The gates of thanos are a spread eagle wide. You let the shutters make sackcloth and ashes out of a blind mans picaresque heart. You take the veil..you’ll take the dive..you take the veil. It’s not over till the tremulant sings. These ideas of march are they so make believe? How tempts the revenant…slice up and not across. You take the veil..you’ll take the dive..You take the veil. A mass of gallon sloth, as flys have walls for feet. A rapturous verbatim, someone said but who is to know. And when you find the fringe, the one last hit that spent you, you’ll find the ossuary spilling by the day. Iconoclastic had it coming for years, they know the prisons that you have yet to fear…where thumbs hide inside of sleepingbag mouths, adlib your memoires by casting a drought. You take the veil…you’ll take the dive..you take the veil. A mass of gallon sloth..as flys have walls for feet. A rapturous verbatim-someone said but who is to know.
And when you find the fringe, the one last hit that spent you, tou’ll find the ossuary spilling by the day. Knife me in….hobbling….talking in it’s sleep again
Knife me in….hobbling….talking in it’s sleep again. Knife me in… hobbling…talking in it’s sleep again. Knife me in…hobbling…talking in It’s sleep again. Virulent hives… of bedpost piles… virulent hives… Who brought me here, forsaken,depraved and wrought with fear …who turned it off? The last thing I remember now…who brought me here?
Forsaken,depraved and wrought with fear..who turned it off? The last thing I remember now.Who brought me here?

Sources: The Comatorium, Q, Soundsxp, Thenitmustbetrue, LA Weekly, Everyoneisdoomed, Gold Standard Labs, Rock Circus TV.


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1 Comment

  1. sono riuscito ad avere il cd a settembre 2003: ascoltato tutto d’un fiato; non contento l’ho riascoltato almeno 4/5 volte. grandissimo: cresceva ad ogni ascolto. è rimasta una presenza fissa nel mio stereo (e non mp3!) per quasi un anno. nel frattempo li ho sentiti dal vivo al rainbow a milano a novembre 2003: una “pugno allo stomaco”, una botta di suono impressionante (che negli anni a seguire perderanno pian piano).
    peccato che poi si siano persi per strada…….

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    Aggiunte le pagine Tremulant e De-Loused in the Comatorium rispettivamente nella sezione EP e in Album

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    Per celebrare il ritorno degli At The Drive-In (anche se la rentrée vera e propria è avvenuta già la scorsa settimana) ecco una corposa biografia, la pagina sarà aggiornata in seguito con discografia e altre info.

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