Frances The Mute by The Mars Volta

Frances The Mute, The Mars Volta's second album, released in 2005, twenty years ago, is a concept album based on a diary found by band member Jeremy Michael Ward in the back of a car, which chronicled the author's life remarkably similar to Jeremy's own.

It's a masterpiece that could easily rank among the rock masterpieces of all time, released too late to achieve the commercial success it deserved.

De-Loused in the Comatorium remains their best-selling album, but this album represents the pinnacle of their creativity. The Widow, in my opinion, is the best example of this, along with Cassandra Gemini.

The impressive lineup, featuring some fantastic guest appearances, demonstrates the sheer amount of work behind this beautiful album, starting with Flea, who played trumpet on "The Widow" and "Miranda...", and John Frusciante, who played a guitar solo on "L'Via L'Viaquez," both by the Red Hot Chili Peppers. Furthermore, "Cassandra Gemini" features flute and saxophone contributions from Mexican wind player Adrián Terrazas-González. All the songs feature full string and wind sections, arranged by David Campbell with assistance from Rodríguez-López. Apparently, during the recording of a section of "Cassandra Gemini," one of the orchestra members played so hard he broke his bow...

Some notes on the tracks

- Cygnus... Vismund Cygnus is the opening track, divided into four parts, starting with an acoustic intro but then exploding into a Latin-accented riff and beautiful harmonies. A great start.
- The Widow is a magnificent song with a pop structure, a powerful chorus, high-pitched vocals, a great trumpet part by Flea, and a beautiful guitar solo by Omar Rodríguez-López, a masterpiece of great emotional charge. Compared to the single version, it features a long, atonal outro with electronics and organ. Exceptional.

- L'Via L'Viaquez is a very complex progressive rock song, about 12 minutes long, featuring excellent guitar work, complex rhythms, and a distinct Latin-fusion accent. A great piece.

- Miranda, That Ghost Just Isn't Holy Anymore has an unusual spaghetti-western style and features an experimental approach with field recordings, native sounds mixed with a Morricone-style trumpet section. Very unique.
- Cassandra Gemini is the album's epic 32-minute conclusion, an exceptional piece of great complexity and emotional intensity, featuring heavy sections based on riffs with distorted vocals, symphonic movements with brass and strings, great tension and constant energy. Beautiful.

The entire work blends metal, progressive and psychedelic rock, fusion, jazz, and Latin music, often within a single song.

The rhythm section is extraordinary: Juan Alderete de la Peña on bass and drummer John Theodore, who has striking similarities in style to the greatest drummer in the world (in my opinion), John Bonham.

Some say the album is difficult, and they're right. This stems from the harmony between the story and the music. Along with the previous album, this is an absolute must-have for your collection.

Note: All links to the musicians' works are in the TAGS under the article title or on the "Artists" page