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| | Omar Rodriguez & Lydia Lunch | | | Music Style : | | Psychedelic Rock | | Record Label : | | Willie Anderson Recordings | | Release Date : | | 2009-01-06 | | Store Price : | | $22.98 | | Artistopia's Price: $22.98 | | Usually ships in 3 to 5 days | | |
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Customer Reviews of This Album/CD |
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 The Blastic Ono Experience
Submitted on: 2009-04-15 |
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| Someone with low tolerance for hip-hop will find this album a hard, grating listening. Lunch's rants come in streams of half-yelling commissar vulgarity, and the 'social relevance' of the lyrics slips into banality nine times out of ten lines. It sounds like Eryka Badou's 'unplugged' album, with the addition of noise all over. The outcome is a set of tracks with lots of fire, but no heat. |
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 Mn-yey. Big Omar fan. This is a let down.
Submitted on: 2009-03-31 |
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While this has the space jazz craziness that I have come to love and expect from Omar Rodriguez-Lopez, Lydia Lunch doesn't add anything to the mix that makes me want to listen to the album. Nothing like A Manual Dexterity or Calibration. Although I can appreciate that Omar is trying something new.
Granted, I only listened to it once, but it was enough of a disappointment that I have resisted the urg to try again. Maybe someday I will try again and be pleasantly surprised. |
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 Controvertial
Submitted on: 2008-11-16 |
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I don't think there is an artist in the world right now that is making and releasing more albums than Omar Rodriguez-Lopez. The man is clearly on creativity overload as this is his 4th album, with many more releases spanning 2007 and 2008. The main difference with this album compared to the rest of his albums is that the lyrics on this album are spoken rather than sang. Omar Rodriguez-Lopez collaborates with Lydia Lunch on this album who is a spoken word artist. The lyrics are so controversial that you would probably expect them to be on rap albums rather than a progressive rock album. But somehow this just works.
The album kicks off as it means to go on with opening track `Welcome to my church' throwing the album straight into a prog, jazz fusion style; mixing Omar's frantic electric guitar with saxophone performed by Adrian Terrazas-Gonzalez, keyboards performed by Money Mark, bass performed by Juan Alderete and drums performed by Marcel Rodriguez-Lopez. This sound is consistent through the whole album as Omar delves into his own world. But it is the collaboration with Lydia Lunch who delivers the vocals which is really the focal point of the album which says a lot considering the exquisite musical backdrop.
Although the album is only 5 tracks and 24 minutes in length, because the theme is the same all the way through, I feel Omar has done enough without over doing it. It is more of a concept album about god, women and war with the tracks having equal weighting than any particular song standing out. Opening track `Welcome to My church' kicks off the controversial lyrics with Lunch displaying her dark humour with lyrics like, `No women has never started a world war, No women has ever stopped a world war either'. In the second track `Getting Rid of God', it is the saxophone which takes centre stage for the first half of the track till it is back to Lunch's rants.
Third and fourth track, `Back to the Goddess' and `The end of a white man's revelation' continue in the same vein setting the scene nicely for album closer `Woman (In the beginning)' where Omar lets himself loose on the guitar with in my opinion his best work of the whole album. The controversial lyrics continue with `We should have bombed the women of Afghanistan and Iraq'. If you think these lyrics are controversial or are offended by them this album is probably worth a miss as it does get more extreme. For me though Lydia Lunch offers a different way of looking at things, I don't agree with most of the things she says but at the same time her voice does fit with the music and the vocals are delivered in a tongue and cheek style.
Overall this is a very good album. Some of the statements made may shock you. But I think the point of the album was to make an impact on this listener and to make them think in a different way. Some may be offended, others may agree with what Lydia Lunch says. However one thing is for sure the frenzied music on display is once again of very high standard and kudos for Omar for experimenting his music with the spoken word.
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 Omar Rodriguez & Lydia Lunch
Submitted on: 2007-12-17 |
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| The Omar Rodriguez & Lydia Lunch collaboration was recorded in Amsterdam and Spain in 2005. It's broken into five tracks but is really one long extended performance with the track listings dividing it up into roughly five minute segments. It delves into similar territory as the Omar Rodriguez Album and his prior collaboration with Damo Suzuki. Lunch performs her own spoken-word over a track created by Rodriguez and his band that sprawls out over 24 minutes, embracing latin/jazz, electronic, and jam-oriented hard rock all in one. If you are a fan of the Mars Volta and Rodriguez work in general this will be something you want in your collection. If you are a radio-friendly or pop-oriented music listener, this could be challenging territory, but don't be afraid to try something that doesn't fit in the box. In terms of pushing the envelope in pop-music, or in determining if terms like that even still apply, Rodriguez is at the forefront of a largely overlooked group of musicians out there playing music for it's own sake and challenging modern conventions of expression. |
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Omar is getting weird. Great though!
Submitted on: 2007-11-06 |
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Omar has really done it again. I will though warn the casual listener this CD is absolutely not for everyone. Omar gets freaky with Lydia Lunch who comes across as a beat poet. You may not have heard of this Lydia before but i will tell you she is not afraid to say what she thinks.
Omar apparently recorded this record when he was in the middle of his musical writting mode in Amsterdam. This is only one of about 5 albums that he made during that period. I highly recomend checking out the other entries in his Solo back catalogue.
When i first put the cd in i was actually a little dissapointed but with further inspection it slowly starts to reveal itself upon multiple listens. It is as if he has taken his cue from Miles Davis alot in recent times. The music feels very free with little or no boundaries. Omar is obviously in charge though, you can feel it in the direction he is going in. The band itself on this record is strong with the drummer and bass player holding a tight groove over the 30 or minutes of music on offer here. The music is basically one really long jam and doesnt alter course all that much. Lydia doesnt actually offer all that much to proceedings although when she does appear it is normally with sound effects talking about God and Religion and the effects of war...You dont notice the tracks go by as one track will weave into the next almost silently. Basically if you like the Mars Volta and Omars solo stuff be prepared for a ride. Omar is a unique voice who is important to my musical landscape. Check it out if you like your music interesting, a little to the left and very free. It has remnants of Free Jazz all over it but Omar cannot escape his rock background. A worthy and interesting addition to Omars already wide music catalogue. |
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