The Mars Volta - "Octahedron" White Double Vinyl W/ Limited Turntable Slipmat

$

63

1. "Since We've Been Wrong" 7:22 2. "Teflon" 5:06 3. "Halo of Nembutals" 5:32 4. "With Twilight as My Guide" 7:54 5. "Cotopaxi" 3:40 6. "Desperate Graves" 4:58 7. "Copernicus" 7:24 8. "Luciforms" 8:22
Regarding the release, vocalist Cedric Bixler-Zavala states that the band "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."

Rodriguez had discussed the band's next album (then untitled) as early as January 2008, the month that The Bedlam in Goliath was released, claiming "I consider it to be our acoustic album." Bixler-Zavala has also spoken of the album as "acoustic" and "mellow," yet stated: "We know how people can be so linear in their way of thinking, so when they hear the new album, they're going to say, 'This is not an acoustic album! There's electricity throughout it!' But it's our version. That's what our band does -- celebrate mutations. It's our version of what we consider an acoustic album."

Similar to the band's third studio album, Amputechture, the album does not contain a single unifying narrative. Vocalist Cedric Bixler-Zavala notes that the album is "not really" a concept album: "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 [...] kidnappings, vanishings, 'what if' scenarios about how to get Republicans out of the White House if they'd got in." [4]

In another interview Cedric elaborated on the kidnapping/vanishing themes, saying "Lyrically, I wanted to incorporate elements of traditional songs. So that it would sound like our world had these handed down, traditional songs that were to do with real random vanishings and kidnappings. That is a big part of Latin culture. People get kidnapped all the time. I wanted to cover everything. Right from the exhilarating feeling you get when you put the ransom note down, the adrenaline rush when you realise a loved one has been taken from you, followed by that bleak, dismal area of not knowing what to do. Especially if you don't come from money. We had two friends that we knew from Texas who just randomly vanished. We've never known whether they just took off or if they met foul play. I found it an interesting subject matter to tackle. I wanted the lyrics to instil that bleak feeling you can get from living somewhere like El Paso. Even though I haven't lived at home for ages, it's still with me. The stories that come from across the border still hit home really hard. I just wanted to have a soundtrack for that really."[13]

In an interview with Revolver, Cedric discussed the theme of "Teflon": "I had been writing the lyrics and sort of testing the waters of how much I could say if McCain had won the election. I don't usually write anything about things like that. I think 'Teflon' is my favorite because it kind of has that slacker attitude of someone who doesn't vote but at the same time is giving a fuck. I think a lot of people could maybe understand that." In this same interview, it was pointed out that the introduction of "Halo of Nembutals" contains a sample of a Jeremy Michael Ward recording, dating back to 2003.[14]

The song "With Twilight as My Guide" appears to take place during the Salem Witch Trials, which is revealed through an interview with opera singer Renée Fleming, who covered the song on her album Dark Hope: "I was especially fascinated by the Mars Volta song, 'With Twilight As My Guide', which is operatic in its scale and musical complexity. I was however a bit concerned about the text, specifically the reference to 'devil daughters'. I said, 'As much as I love this song, I really can't sing it for that reason.' Peter Mensch offered to contact Cedric Bixler-Zavala and asked if the text could be changed, since the overall meaning of the song wasn't completely clear anyway. Cedric responded, "Sure, she can change it. I would just like it to be known that in no way is the lyric supposed to paint women in a bad light... The song feels like it was written during the Salem Witch Trials, and it sarcastically takes the religious right wing slang of how all women were treated. Our last album, Bedlam in Goliath, was one huge metaphor for the way women are treated in Islamic society (honor killings, etc) not just a story about a ouija board... it's meant to make you question the way things are."[15]

Personnel

• Omar Rodríguez-López – guitar, synthesizers, drum machine (7), direction, arrangements
• Cedric Bixler-Zavala – vocals, lyrics
• John Frusciante – guitar
• Juan Alderete – bass guitar
• Thomas Pridgen – drums
• Marcel Rodríguez-López – keyboards, synthesizers, mellotron 

Recording personnel

• Omar Rodríguez-López - producer, recording engineer
• Isaiah Abolin - recording engineer
• Lars Stalfors - recording engineer
• Shaun Sullivan - recording engineer
• Rich Costey - mixing
• Noah Goldstein - mixing assistant
• Lee Foster - mixing assistant
• Howie Weinberg - mastering

Artwork

• Jeff Jordan – original artwork
• Sonny Kay – layout and design