THE MARS VOLTA UNDERGROUND Christopher Gemini profile picture

THE MARS VOLTA UNDERGROUND Christopher Gemini

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JOIN OMAR RODRIGUEZ-LOPEZ AT REVERB NATION



***IMPORTANT NOTICE****: IF THERE ARE ANY PICS, VIDS OR CONTENT ON THIS PAGE THAT ARE OWNED OR UNDER COPYRIGHT PLEASE CONTACT ME AND I WILL REMOVE THEM IMMEDIATELY. THANK YOU AND ENJOY!!!
BALADO KINROSS-SHIRE, SCOTLAND - JULY 10, 2009
T IN THE PARK FESTIVAL
OXEGEN FESTIVAL, DUBLIN - JULY 11, 2009
SOMERSET HOUSE STRAND LONDON WC2 - JULY 13, 2009
SAN FRANCISCO, CA - AUGUST 28, 2009 - OUTSIDE LANDS
NEWS: JULY 8, 2009
INTRO MAGAZINE INTERVIEW WITH OMAR:
NEWS: JULY 5, 2009
**M Chodzinski video version of "Wax Simulacra" from ORL Productions**
NEWS: JUNE 27, 2009
RODRIGUEZ-LOPEZ PRODUCTIONS NEW BLOGSPOT!!!!
get your goodies here - including the octa double vinyl!!!!
http://rodriguezlopezproductions.blogspot.com/
NEWS: JUNE 23, 2009
"SINCE WE'VE BEEN WRONG" MUSIC VIDEO:
The Mars Volta - "Since We've Been Wrong" fr. Octahedron
PRESS RELEASE: JUNE 23, 2009
OMAR RODRIGUEZ-LOPEZ PRESENTS "XENOPHANES"
Wikipedia tells us that Xenophanes was a Greek philosopher, poet, and social and religious critic of the 5th century BC. His pantheistic conception of the Universe supposed that everything in existence has always existed. He rejected his contemporaries' notions of an anthropomorphic "god" (or hierarchy of gods) in favor of a concept not the least bit irrelevant to our 21st century mindset, that of a singular (and hence, all-encompassing) global consciousness. His unorthodox concepts were not widely acknowledged until many hundreds of years after his death, and suffice to say, their material concerns are primarily those which humans wage war over two-and-a-half millennia later. Little surprise, then, that this iconoclastic anomaly of a man should lend his name to a new concept album by THE MARS VOLTA's hyper-prolific mastermind, OMAR RODRIGUEZ LOPEZ. The inaugural recording from Rodriguez Lopez's low-profile compound in Zapopan, Mexico, Xenophanes is the first album which finds him at the helm vocally and lyrically, as well as musically. Sung entirely in Spanish, Xenophanes showcases a side of Omar rarely seen before, allowing for a much more gestural experience of the man rather than simply the musician, and truly distinguishing this album from its myriad predecessors. Equal parts Volta bombast, El Grupo Nuevo... technicality, and a textural richness unequaled on prior solo releases, Xenophanes is a triumph of imagination and an inspired, concise statement. A conceptual journey through life, death, and re-birth, the album tells the story of a selfish and judgmental female caseworker who falls in love with a male client, only for him to die soon thereafter. Over the course of eleven subsequent lifetimes, the woman experiences life from every conceivable vantage point as her soul evolves, thereby allowing the maturity and eventual letting-go of her ego which in turn enables the realization that the man was, and always has been, her father spirit. Suggesting the fractal and holographic nature of both consciousness and physical reality, the concepts embraced on Xenophanes will appear at least vaguely familiar to anyone with experience in the psychedelic and/or shamanic realms; concepts which Xenophanes himself was likely the first to express within the confines of Western philosophy. In order to execute the unpredictable, emotionally-charged compositions on Xenophanes, Rodriguez Lopez once again enlists his veteran co-conspirators: bassist Juan Alderete de la Peña, drummer Thomas Pridgen and keyboardist/percussionist Marcel Rodriguez Lopez. Additionally, the album includes contributions from Mark Aanderud (additional keyboards), as well as the notable voice of Ximena Sariñana, doubling and backing Rodriguez Lopez's vocals. As Sariñana's presence on Omar's recordings and during live performances has already been a cause for much speculation, it should be made clear that Xenophanes does not feature the accomplished and versatile singer's own vocal compostions. Subsequent releases (the forthcoming Mary Anne Hobbs BBC Session and Ciencia De Los Inutiles albums, for instance) will fully showcase Sariñana's penchant for infectious melody and engaging lyrics.
NEWS: JUNE 18, 2009
LIMITED EDITION "OCTAHEDRON" T-SHIRT AVAILABLE WITH ORDER FROM OFFICIAL SITE!!!!
GO GET IT $29.99
http://marsvolta.com/shop/product/limited-edition-t-shirt-w- octahedron-cd?cmpid=marsvolta/d2c/618/myspace
NEWS: JUNE 17, 2009
FUSE.COM BONNAROO INTERVIEW:
..
*****BREAKING NEWS: JUNE 11,2009
Big Thank you to Cathy from Sargent House!!
Omar has been in town all this week and today he was at the RLP all day working on a bunch of new artwork with Sonny Kay - we got two new masters (recordings) from him as well, the first is "Xenophanes" which I'm super excited about, it is really great - Omar is singing and I think you will all be really surprised how awesome this sounds - has all the players from the European tour on it - Album is slated to come out in September 2009.
Playaz On "Xenophanes": Omar, Mark, Ximena, Marcel, Juan & Thomas
Also got a recording of the BBC Session from the European Tour that we will be releasing as a special Vinyl and Digital only release on Rodriguez-Lopez Productions.
In addition, The Mars Volta "Octahedron" Vinyl art is now fully signed off and the pre-order will be up soon. Should be able to ship on or around July 25th, 2009
NEWS: JUNE 10, 2009
COTOPAXI.....MUTHAFUKAAZ
..
NEWS JUNE 9, 2009
ENTIRE CEDRIC INTERVIEW WITH "DROWNED IN SOUND"
FBR: Obviously the first thing to bring up, is that having listened to Octahedron a few times, it's clearly a pretty big departure from Bedlam. Lighter, more straightforward, more commercial. What's the idea behind the record?
Cedric Bixler-Zavala: We wanted to make the opposite of all the records we've done. All along we've threatened people that we'd make a pop record, and now we have.
FBR: Something deliberately more accessible?
CBZ: Well, just for us really. The first song was something that was meant to end up on Bedlam, but I guess it didn't fit. What we wanted to make was an acoustic album. So this is our version of that, but obviously not sticking to the rules. It's always good to get rid of one audience to gain another. The old audience always knows what to expect. And I'm sure whatever audience comes from this album, we'll disappoint them with the next record.
FBR: So you want a challenge for the fans who only want twenty minute guitar solos and no choruses?
CBZ: We did have choruses before, just the libraries of music in people's heads are so undeveloped that their ideas of choruses are training wheels and the Bay City Rollers.
FBR: In terms of your career as a whole, is this going to be as 'pop' as The Mars Volta ever get?
CBZ: I don't know what's going to happen. The next record might be a combination of everything we've done so far. At the same time Omar's releasing an album called Crypt Amnesia with the drummer Zac Hill...
FBR: From Hella?
CBZ: Yeah exactly, so if anyone's bummed that The Mars Volta record's too simple or too pop, they can buy that album and it'll take them right back to that kind of sound. It's one of my favourite things I've ever worked on. It's pretty much a Mars Volta record, just without Thomas, Ikey, and Marcel. With Volta [Octahedron] was just our acoustic record that turned into our pop record.
FBR: And is it a concept record?
CBZ: Not really. I thought it was going to be but never really got around to writing about anything in particular. Just a lot of instant song composing and regular themes that I wouldn't even want to elaborate on...
FBR: Surely there imagery that stuck in your mind throughout the lyric writing process?
CBZ:...kidnappings, vanishings, 'what if' scenarios about how to get Republicans out of the White House if they'd got in.
FBR: What have you been listening to that influenced it?
CBZ: A lot of Scott Walker ballads, ballads from Rocky Ericsson and the raspberries.
FBR: Your lyrical vocabulary seems a lot more down to earth too.
CBZ: Yeah, probably. But you think I'm saying something and then you read the actual lyric and realise it's pretty bent out of shape. What people need to understand is that we've been doing this for almost ten years now and everything we do is just our way of making things interesting for the band.
FBR: Looking at the number of solo albums Omar makes, he's clearly constantly writing. In terms of songs, how does he differentiate what's for one of his own records and what's for the band?
CBZ: Some stuff he just feels passionately about, and that's for Volta. Or I'll stick my head around the door and ask if we can use something for the band.
FBR: And can we expect a Cedric solo album any time soon?
CBZ: Yeah, there's a lot of music that's ready. I just need to get around to singing on all of it. I've been working a lot with a friend of mine called Deantoni Parks, a drummer who's spent time with like, Tom Waits and John Cale. He plays in this band Kudu who are pretty much a modern version of Vanity Sticks, and he toured with Volta for a while. Omar's made a couple of electronic records with him. He's known as like the live drummer that can sound like a machine.
FBR: There's that sort of electronic sound that comes through subtly on Octahedron, especially on tracks like Copernicus...an almost '90s Warp vibe in parts. Can we expect more of that on future Mars Volta stuff?
CBZ: Yeah, I'd definitely push for more of that.
FBR: Have you got any current musical recommendations for Drowned In Sound readers?
CBZ: I dunno, I've just been really into my ballads...and anything that ends up in murder, somehow. You've got to take the love story down that road. A lot of time that's just how it ends up...[laughter]. And I like a lot of dancehall, except the homophobic element of it. I mean, I love to dance to it, but I can't dance when the hypocrisy of the statement 'one love' excludes certain types of people.
FBR: What about the live shows for this record? Are they going to be lighter too?
CBZ: I reckon we'll play the majority of the record and then we'll probably end the set with some of the older stuff that we can include improvisation on. I think the game plan is to play all the new stuff as individual songs, unless something opens up and we recognise it as a spot to fool around with.
FBR: And after almost ten years in the band, do you think it'll be going for another ten?
CBZ: Yeah definitely, especially being around the people in the band right now just excites me. Plus, to have as much time off as we've had from it...it's a good break to remind you what you love doing. I love it and I'll always love it. It's the one outlet I have that won't get me arrested or get me in trouble. I can get away with it. I don't know if I could collaborate with many other people. The closest thing I've found to like minded people is when we curated ATP.
FBR: That was the first ATP I ever went to. It blew my mind, you had everything going on from Acid Mothers Temple to Saul Williams to Lydia Lunch to Peanut Butter Wolf...
CBZ: I was so excited that everyone would even say yes to sharing the stage. Mastodon, Diamanda [Galas], Antony [Hegarty]...I felt like a little kid, and I don't even know if we deserved it, but I've always thought ours was the most diverse so far. Hopefully Barry will let us do it again...
FBR: They'll probably be up for paying you a lot to reform 'At The Drive-In', like they did with Sleep at few weekends ago.
CBZ: Oh yeah, they do that right? [laughter]
FBR: But I take it you probably won't be accepting any offers on that front any time soon?
CBZ: I don't know what to say about that really. We've been making amends with a lot of the members and having some really good talks with them. And we've been trying to get our financial business in order because a lot of people have been ripping off that band really badly...as far as the business side goes. I wouldn't mind it. Y'know, it might happen, we just have to iron out a lot of personal things. A lot of it we've dealt with already and I've apologised for a lot of things I've said and the way it ended...we'll see what happens.
NEWS: JUNE 25, 2009
OCTAHEDRON WIDGET, UNLOCK SOME GOODIES!!!!
NEWS: MAY 25, 2009
NEW INTERACTIVE "OCTAHEDRON" WEBSITE LAUNCHED
CHECK IT: http://www.intotheoctahedron.com/
NEWS: MAY 22,2009
A NEW OMAR RODRIGUEZ LOPEZ ALBUM TITLED: "XENOPHANES" COMING IN SEPTEMBER
INFO CONFIRMED BY RODRIGUEZ-LOPEZ PRODUCTIONS!!.....
SPECULATION SO FAR
video release of the first single in September
lyrics in Spanish
most of the singing by Omar
the band includes:
-Thomas Pridgen, drums
-Marcel Rodriguez-Lopez
-Juan Alderete, bass
-Mark Aanderud, piano/synths
-Ximena Sariñana, voices
NEWS: MAY 16, 2009
FROM RODRIGUEZ-LOPEZ PRODUCTIONS:
We have set up our own RLP Digital Download Store where you can get most of the back catalogue in any File Size / Format you want all for way less money than Itunes etc.
For the first time ever Omar Rodriguez Lopez & Damo Suzuki's "Please Heat This Eventually" is now available for Download in full resolution for $1.99
HERE: http://omarrodriguezlopez.bandcamp.com
De Facto also is set up!!!! HERE: http://defacto.bandcamp.com/
*****NEWS: MAY 14, 2009
RADIO EDIT OF "SINCE WEVE BEEN WRONG" - SWEET!!!!!
http://www.mediafire.com/download.php?knyyj35mj54
****NEWS MAY 13, 2009
THE MARS VOLTA 2009 BIO FROM QPRIME;
The eighteen or so years that Omar Rodriguez-López and Cedric Bixler Zavala have spent making music together have been a prime example of the theory of musical evolution, a journey of exploration that's seen the duo refuse to stand still, maturing and growing ever bolder in their art. From Omar's first joining their previous group, El Paso's lauded and lamented At The Drive-In, and progressively pushing that band in more experimental directions that ultimately pulled it apart, to Omar's composing of epic scores and Cedric's creation of lyrical novellas to complement them resulting in The Mars Volta's first two albums, theirs has always been a partnership that has prioritized challenge over contentment.
"The only objective, throughout, has been to always move forward," says bandleader Omar, speaking from the recording compound in Mexico from which he currently helms The Mars Volta. "To always make the next album sound different to the one that came before it, to always be evolving." And so it has been, with the Mars Volta from day one. The band was already rehearsing during the entropic latter phase of At The Drive-In, and well before that Omar and Cedric had maintained the extracurricular dub outlet De Facto with future Mars Volta members Ikey Owens and the late Jeremy Ward (whose life would inspire the narrative of the Volta's 2005 sophomore effort Frances The Mute). In 2002, The Mars Volta's primordial three-song Tremulant EP would materialize on the band's own GSL label. Their earliest shows and recordings captured the frantic, chaotic pell mell of their origins, a riot of ideas veering off in every direction, until they began to settle into something of a cohesive lineup and musical focus to produce a modern progressive masterpiece in the form of De-Loused In The Comatorium. Over the course of ten sprawling stunning compositions that improbably formed a greater whole, this astonishing debut album served as an elegy and dramatization of the life of Julio Venegas, a friend and mentor to the young Omar and Cedric who had succeeded in taking his own life after multiple suicide attempts. For the purpose of the album, Venegas re-imagined as the fictional character Cerpin Taxt, the songs chronicling his potential adventures in the dreamscape of a suicide attempt-induced coma.
Dashing the predictions of post-ATDI detractors, De-Loused... debuted to stellar critical and commercial reaction. The first proper Mars Volta headline shows saw the band perform the album in its entirety, a cathartic and grueling nightly marathon that often ended with bandmembers in tears, as the album improbably went gold. Emboldened by this success, Omar and Cedric solidified their core live group of bassist Juan Alderete de la Pena, keyboardist Isaiah "Ikey" Owens, percussionist Marcel Rodriguez-López (Omar's brother), flute/tenor sax player Adrian Terrazas and drummer Jon Theodore and began work on an even more ambitious sophomore effort. Like De-Loused..., the album would be inspired by the loss and remembrance of a close friend, this time Mars Volta sound manipulator Jeremy Ward, who passed away unexpectedly not long after De-Loused... was released. 2005's Frances The Mute's narrative revolved around an adopted protagonist's search for his biological parents and its ultimately unsatisfying resolution, mirroring the experiences of Ward's tragic life story. The first Mars Volta record to be produced by Omar (De-Loused... had Rick Rubin manning the boards with Omar), Frances The Mute again defied and surpassed all expectations, entered the Billboard 200 at #4, featured contributions from legendary musical figures from David Campbell to Larry Harlow to now regular Volta studio guitarist and erstwhile Red Hot Chili Pepper John Frusciante, and spawned an actual hit single in the form of "The Widow." The live shows in support of Frances The Mute--which found Omar and Cedric's former ATDI bandmate Pablo Hinojos reuniting with them--would be the band's most ambitious and intense to date, as they headlined and sold out venues including the Greek Theaters in Berkeley and Los Angeles, while Frances... climbed toward half a million U.S. sales. All in all, a more than fitting tribute to another fallen friend.For Amputechture in 2006, Omar and Cedric tore up the script yet again, deciding to make their third full length their first without a central unifying theme. Omar likened the surreal single song vignettes and their impressionistic tales of heresy, intolerance, demon worship and the like to vintage episodes of the original Night Gallery and Twilight Zone TV series. While Amputechture proved the most difficult of The Mars Volta discography to date--Omar and Cedric came to regard to the record as their autistic child, the one that related the least to others but that they nurtured the most--standout tracks such as "Viscera Eyes" and "Day Of The Baphomets" remain live favorites to this day.The period following Amputechture's release and ensuing tour seemed plagued with mishaps and misfortune. Drummer Jon Theodore was let go and the band struggled to retain a stable replacement. Live dates were marred and postponed by inexplicable equipment issues and Cedric's suffering a strange and hobbling injury. An engineer suddenly lost his mental composure and a flood disabled Omar's studio. The band ultimately recognized a correlation between things unravelling and the appearance of the primitive Ouija prototype "talking board" Omar had picked up in Israel and gifted Cedric with upon his return. Nicknamed the Soothsayer, the board had been telling the band members an unfolding story of seduction, infidelity and murder featuring colorful characters that ultimately coalesced into the malevolent Goliath. By the time the Soothsayer's label peeled back to reveal pre-Aramaic writings of ominous origin, Goliath's stories had morphed into pleas that escalated into threats. Omar took matters into his hands and traveled to remote and random location, burying the Soothsayer in an unmarked grave, a place that would never be revealed to any of his bandmates and that would hopefully escape his memory as well.The legacy of the Soothsayer would be The Bedlam In Goliath, The Mars Volta's fourth album, released in early 2008 to a #3 Billboard debut. A virtual musical embodiment of madness incarnate, The Bedlam In Goliath eschewed the gradual build of previous Mars Volta records, diving feet first into frenzy on the opening "Aberinkula," which also marked Volta fans' first recorded impression of new drumming powerhouse Thomas Pridgen. As the album progressed, "Ilyena," "Goliath," "Soothsayer" and even the unsettlingly quiet eye of the storm that was "Tourniquet Man" gave musical substance to the characters and stories conveyed to Omar and Cedric through the Soothsayer. Much like the band's experience with the ancient and insidious talking board, The Bedlam In Goliath is a chilling yet addictive experience--and one that ultimately nabbed the band its first ever Grammy, as the track "Wax Simulacra" took home the Best Hard Rock Performance statuette from the 51st Annual Grammy Awards in February 2009.For Omar Rodriguez-Lopez, the studio isn't just another tool at his disposal, or even something as simple as an instrument in its own right. The studio is his laboratory, his playground, the place where he can take the raw bones of his songs, his fresh-born ideas, and refine and experiment with them, twisting them into radical new shapes, sending them hurtling in askance directions.For The Mars Volta's brand new fifth album Octahedron, however, Omar adopted an oblique and entirely new strategy, one he'd never tried before in the group's career. Having cut the basic tracks for this new album, instead of retreating to the studio to tinker endlessly with the songs and recordings, he chose to step away. Instead of feverishly adulterating the tapes with the mosaic of overdubs and FX that have typically aided Omar in realizing his concepts, he chose instead to polish and refine what he had, to hold back on every bell and every whistle. The result is, he says, the first of his albums that he can listen to for pleasure. It is also an album that distils all of the energy, all of the furious invention that characterises music with a clarity they've never before achieved. In keeping with this spirit, Omar pared the band down to a 6-piece lineup, asking Hinojos and Terrazas to leave, both of whom did so amicably."It was really challenging, to hold back," he smiles. "To add many layers, or an instrumental freakout section here or there, began to feel predictable to me, so I started putting restraints on myself, saying no, you aren't going to add 97 extra parts to this song. I reined it in, and kept it to the core of what those songs were."Octahedron is an album heady with the emotion and high-drama that has always been The Mars Volta's trademark, their newfound simplicity and focus delivering some of the most immediate and powerful songs in their discography. Lyrically, Cedric employed 'disappearance' as a loose theme, inspired by the culture of kidnapping that has latterly infected the group's current home of Mexico, by the mysterious disappearances that populate the library of urban myth, and the way emotions - even the strongest, purest emotions - can mysteriously, but entirely, ebb away.The album opens with the tender ache of "Since We've Been Wrong," Cedric's keening vocal establishing a mood that's deeply blue, powerfully melancholic, a suckerpunch that hits every bit as hard as Octahedron's unashamed rockers (the gleaming futuristic funk of "Teflon," the tense chase-music of "Cotopaxi"). Pulling back from the full-tilt experimentation of previous releases, Octahedron invests its energies in Omar's gift for songcraft, for swooning guitar runs of high tension and emotive power (closer "Luciforms"' epic riffage), for the nagging hooks and choked melodies that wreath the churning rhythms of "Desperate Graves." "For me, all that's important is if something moves you or not," explains Omar. "I've never tried to be tricky, to be complicated; if it gives me goosebumps, I'll use it. If it's striking, if it hits me as a listener, that's all that matters to me."Ultimately, the album is another in a series of testaments to Omar and Cedric's unassailable faith in following their muse in whichever direction it takes them; thus far the journey's been the ride of the creative lifetime, and they see no sense it second-guessing it yet, especially not when it delivers so pointedly powerful a record as Octahedron."The only reason we even have a fanbase is because I've stayed true to my instincts," nods Omar. "We've not tried to repeat previous successes to make them happy, we've stayed true to ourselves, and made the music that we want to make, and that's what they respond to. They can sense this is something really pure." And on Octahedron, perhaps purer than ever.
****NEWS MAY 10, 2009
"CRYPTOMNESIA" MAKES NY TIMES CRITICS CHOICE CD THIS WEEK!!!!!
"Cryptomnesia" by El Grupo Nuevo de Omar Rodriguez LopezSo many jumpy, frenetic, whipsawing guitar lines go zooming through Omar Rodriguez Lopez’s head that his main band, the Mars Volta, can’t hold them all. That’s why he has his own extensive catalog of solo albums and collaborations, largely (but not entirely) instrumental works like “Old Money” (Stone’s Throw), which was released earlier this year. (The next Mars Volta album is due in June.)“Cryptomnesia” tilts toward songs instead. Its tracks were recorded in 2006 by members of the Mars Volta, including Juan Alderete de la Peña on bass, and from Hella the hyperactive Zach Hill on drums, who can keep pace with every riff, lead and guitar noise, stroke for note, while throwing in cymbal splashes and tom-tom salvos on the side. Then, last year, the Mars Volta’s singer, Cedric Bixler Zavala, added lyrics and vocals on most of the tracks — not his first guest appearances on his band mate’s albums, but his most extensive ones.The result is as frantic as the Mars Volta’s own material, but terser, and occasionally something approaching catchy in songs like “Half Kleptos,” if helium-tinged vocals and bruising progressive-rock riffs could possibly add up to catchy. The lyrics have Mr. Bixler Zavala’s usual gross-out potential, profanity and medical obsessions — “Don’t make me steal all your vital organs,” he croons, way up high, in the album’s title song — but his vocals carve simple paths through the thickets of notes, often with melodies like schoolyard taunts. And instead of the Mars Volta’s long, suitelike constructions and album-length concepts, the longest Grupo Nuevo song lasts six minutes; the entire 11 tracks on “Cryptomnesia” clock in at 36 minutes. The album makes a thorough, nerve-tingling plunge into the Mars Volta’s maelstrom available to shorter attention spans.
NEWS: APRIL 27, 2009
THE MARS VOLTA ACOUSTIC "TIMPANO" SHOW:
IN IT'S ENTIRETY..NICE!!!
BREAKING NEWS: APRIL 18, 2009
"COTAPAXI" SINGLE RELEASED IN UK:
GET IT HERE: http://www.mediafire.com/?udzowtzd25g
HEAR IT NOW
****NEWS: APRIL 17, 2009
THE FIRST U.S. SINGLE FROM "OCTAHEDRON" WILL BE "SINCE WE'VE BEEN WRONG" WHICH HAS, FOR SOME TIME, BEEN DUBBED "BENEATH THE EYELIDS" BY FANS - BELOW IS A LIVE VERSION FROM A WHILE BACK - IT'S QUITE BEAUTIFUL...
*****NEWS: APRIL 5, 2009
A NEW MYSPACE PAGE HAS POPPED UP FOR A GROUP CALLED RJ'S PROSPECTORS (DIOS KILOS)...LOOKS LIKE CEDRIC, JUAN AND PAUL ARE MEMBERS
CHECK IT OUT HERE AND I WILL KEEP YOU UP TO DATE WITH ANY DEVELOPMENTS - HERE'S A COUPLE OF PICS FROM THE PAGE AS WELL
www.myspace.com/rjsprospectors
NEWS: MARCH 28, 2009
SECOND "CRYPTOMNESIA" TRAILER UNVEILED:
NEWS: MARCH 27,2009
OMAR RODRIGUEZ-LOPEZ GROUP FEATURING XIMENA in session at the BBC's Maida Vale Studios 3/18/09
1) "Locomocion Capilar" - 6:46
2)"Victimas Del Cielo" - 7:29
3)"Boiling Death Request" - 9:23
HERE: http://www.mediafire.com/download.php?znmuoygttyg
NEWS: MARCH 25, 2009
OMAR RODRIGUEZ-LOPEZ GROUP; MOSCOW SHOW ON VIMEO!!!
Omar Rodriguez-Lopez@CICterna Hall, Moscow, 20/03/2009 from max on Vimeo .
from max on Vimeo .
NEWS: MARCH 11, 2009
OMAR AND HIS OLD LADY XIMENA IN BRUXELLES 3/10/09
href="http://www.msplinks.com/MDFodHRwOi8vczgzLnBob3RvYnVja2 V0LmNvbS9hbGJ1bXMvajI4NC9tYXRyaXhqdW5raWUvP2FjdGlvbj12aWV3Jm N1cnJlbnQ9dG12Z3JvdXAuanBn" target="_blank">
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My Blog

OCTAHEDRON - LYRICS

Since we've been wrongDo you still remember how you wore that dressit slit my sight beneath the eyelidsDo you remember what you said to meWhat course has given you the right to strayAnd in your living...
Posted by on Mon, 25 May 2009 20:44:00 GMT

DE-LOUSED IN THE COMATORIUM - LYRICS

Son Et LumiereClipside 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...
Posted by on Fri, 26 Sep 2008 22:07:00 GMT

FRANCES THE MUTE - LYRICS

Frances The Mute (DECODER)It's been thirteen seconds Since you all last said I've become the apparition You predicted for my death You said that flirting brings you Closer to the end You can bait into...
Posted by on Fri, 26 Sep 2008 21:59:00 GMT

AMPUTECHTURE - LYRICS

Vicarious AtonementDon't you pretend That I'm not alive My bones never ache Unless she's nearby Where is your face In a safe of dead tongues I can see your reflection In your totem first born I suspec...
Posted by on Fri, 26 Sep 2008 21:50:00 GMT

THE BEDLAM IN GOLIATH - LYRICS

AberinkulaHave you seen the living Tired of their own shells All the non-believers Torso in the well Am I the one you're after The novice made to find Stray abhoration stalking Plans that forgot me 9...
Posted by on Fri, 26 Sep 2008 21:38:00 GMT