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Noctourniquet
Noctourniquet is the sixth studio album by American progressive rock band The Mars Volta, released on March 26, 2012 on Warner Bros. Produced by guitarist and songwriter Omar Rodriguez-Lopez, it is the band's only studio album to feature drummer Deantoni Parks, and their first album not to include contributions from guitarist John Frusciante.
Inspired by the children's nursery rhyme "Solomon Grundy", and the Greek myth of Hyacinthus, Noctourniquet is a concept album.
Following the album's release, The Mars Volta broke up due to ongoing tension and disagreements between core members Rodriguez-Lopez and lyricist Cedric Bixler-Zavala. As a result, Noctourniquet became the final studio album of the band's initial run. In 2019, the band reunited in secret, releasing its first studio album in ten years, The Mars Volta, in 2022.
Noctourniquet debuted on the Billboard 200 at #15 with 21,000 albums sold in its first week. In Canada, the album debuted at #44 on the Canadian Albums Chart. In its second week of sales, the album dropped 85 places to #100 on the Billboard 200.
Noctourniquet's origins can be traced back to a collaboration between Rodriguez-Lopez and Deantoni Parks which wasn't definitively marked as a Mars Volta record as-of-then. However, it was eventually developed by the rest of the band to become their sixth studio album. Regarding Parks involvement in Noctourniquet, Bixler-Zavala stated thus: "When we let Thomas [Pridgen, former drummer] go, we were in the middle of having to honor all these dates which included the Big Day Out performances last time, for which we had a drummer named Dave Elitch. But when that happened, we were working on the side on this record that Omar had been making with Deantoni, which was a lot of heavy synth and different kinds of song structures. We just jumped on it and made it a Volta record, and then we started writing more stuff with him, and in the process it became what our sixth album is gonna be."
Much of the album was recorded in 2009, shortly after the band finished mixing their previous studio album, Octahedron. An argument, however, between Rodriguez-Lopez and Bixler-Zavala, resulted in the latter's contributions taking up to two and a half years to be completed. Rodriguez-Lopez noted, "He and I have very few arguments after twenty years of being friends, and we sort of got into this argument. He felt that he’s been trying to keep up with my pace for all these years, and it’s not natural for him, and he didn’t think we had to put out a record every year. He wanted to take his time with it, and he didn’t like me being on top of him like I usually am. [...] So I said okay, well, you have the record in your hands. When you’re ready, you’ll call me and we’ll do it. And a year went by, two years went by, and I sort of started telling him well, wait a minute. [...] It was just a strange record for me. I’m used to taking what I always say are snapshots — Polaroid shots — of where I’m at, and this is more like a long, drawn-out... something."
Rodriguez-Lopez subsequently returned to the studio, with bassist Juan Alderete, prior to the album's mixing, to add additional guitar and bass overdubs. Regarding their return to the studio, Alderete stated, "[Omar] wasn’t happy about the album taking that long. He was just kind of burned out on it. It’s hard to work on something you created three years ago and then go back to it again. It was hard for me to feel good while cutting it because of him sitting there not wanting to be there. Omar is a guy who is working on things that are way beyond anything that we’re doing now."
Regarding drummer Deantoni Parks' contributions, Rodriguez-Lopez noted, "He sort of does away with all the clichés that I’ve come to accept over the years with drummers. [...] I gave him way more freedom than I’d given any other drummer, and still I feel like it wasn’t enough [...] I’ve had to wrestle with drummers, wrestle with musicians, to get them to understand my technique, [but] I don’t think we did more than two takes on anything, and we usually took his first take. And if we did more than that, it was merely for my own enjoyment because I was so blown away by what I was hearing."
Noctourniquet
Noctourniquet is the sixth studio album by American progressive rock band The Mars Volta, released on March 26, 2012 on Warner Bros. Produced by guitarist and songwriter Omar Rodriguez-Lopez, it is the band's only studio album to feature drummer Deantoni Parks, and their first album not to include contributions from guitarist John Frusciante.
Inspired by the children's nursery rhyme "Solomon Grundy", and the Greek myth of Hyacinthus, Noctourniquet is a concept album.
Following the album's release, The Mars Volta broke up due to ongoing tension and disagreements between core members Rodriguez-Lopez and lyricist Cedric Bixler-Zavala. As a result, Noctourniquet became the final studio album of the band's initial run. In 2019, the band reunited in secret, releasing its first studio album in ten years, The Mars Volta, in 2022.
Noctourniquet debuted on the Billboard 200 at #15 with 21,000 albums sold in its first week. In Canada, the album debuted at #44 on the Canadian Albums Chart. In its second week of sales, the album dropped 85 places to #100 on the Billboard 200.
Noctourniquet's origins can be traced back to a collaboration between Rodriguez-Lopez and Deantoni Parks which wasn't definitively marked as a Mars Volta record as-of-then. However, it was eventually developed by the rest of the band to become their sixth studio album. Regarding Parks involvement in Noctourniquet, Bixler-Zavala stated thus: "When we let Thomas [Pridgen, former drummer] go, we were in the middle of having to honor all these dates which included the Big Day Out performances last time, for which we had a drummer named Dave Elitch. But when that happened, we were working on the side on this record that Omar had been making with Deantoni, which was a lot of heavy synth and different kinds of song structures. We just jumped on it and made it a Volta record, and then we started writing more stuff with him, and in the process it became what our sixth album is gonna be."
Much of the album was recorded in 2009, shortly after the band finished mixing their previous studio album, Octahedron. An argument, however, between Rodriguez-Lopez and Bixler-Zavala, resulted in the latter's contributions taking up to two and a half years to be completed. Rodriguez-Lopez noted, "He and I have very few arguments after twenty years of being friends, and we sort of got into this argument. He felt that he’s been trying to keep up with my pace for all these years, and it’s not natural for him, and he didn’t think we had to put out a record every year. He wanted to take his time with it, and he didn’t like me being on top of him like I usually am. [...] So I said okay, well, you have the record in your hands. When you’re ready, you’ll call me and we’ll do it. And a year went by, two years went by, and I sort of started telling him well, wait a minute. [...] It was just a strange record for me. I’m used to taking what I always say are snapshots — Polaroid shots — of where I’m at, and this is more like a long, drawn-out... something."
Rodriguez-Lopez subsequently returned to the studio, with bassist Juan Alderete, prior to the album's mixing, to add additional guitar and bass overdubs. Regarding their return to the studio, Alderete stated, "[Omar] wasn’t happy about the album taking that long. He was just kind of burned out on it. It’s hard to work on something you created three years ago and then go back to it again. It was hard for me to feel good while cutting it because of him sitting there not wanting to be there. Omar is a guy who is working on things that are way beyond anything that we’re doing now."
Regarding drummer Deantoni Parks' contributions, Rodriguez-Lopez noted, "He sort of does away with all the clichés that I’ve come to accept over the years with drummers. [...] I gave him way more freedom than I’d given any other drummer, and still I feel like it wasn’t enough [...] I’ve had to wrestle with drummers, wrestle with musicians, to get them to understand my technique, [but] I don’t think we did more than two takes on anything, and we usually took his first take. And if we did more than that, it was merely for my own enjoyment because I was so blown away by what I was hearing."