Review Summary: Get over the break up and embrace this solid new effort.
In the wake of the disappointing and unexpected disbandment of The Mars Volta, Omar Rodriguez-Lopez's new project, Bosnian Rainbows, faces a tough crowd. Anyone bored enough to browse the cesspool of comments on virtually any news piece regarding this new band can see the juvenile and reactionary hostility on display therein as evidence to this. For many listeners, the musical partnership between Rodriguez-Lopez and Cedric Bixler-Zavala provided more than its fair share of highlights for the past decade of music, and to see it go out with a whimper, without even a farewell tour to send it off, is disconcerting to say the least. This untimely and unwanted break up has allowed a feeling of animosity to permeate the fan base, and any future Omar project has seemingly been doomed to predictable and easy knee-jerk reactions along the lines of "They quit The Mars Volta for THIS garbage?!?!" The truth is, though, Bosnian Rainbows and their self-titled debut deserve a lot more than this. While it doesn't do the impossible and fill the void left by Omar's biggest band, it is an unquestionably solid effort, and those willing to give it a chance may find themselves missing The Mars Volta (ever so slightly) less.
For starters, the sound direction of Bosnian Rainbows is incredibly interesting and goes places The Mars Volta only hinted at. In regards to this sonic direction, the band is perfectly named. The intended juxtaposition of genocide and rainbows is more than just a Marilyn Manson-esque oxymoron. Nearly every second of the record bursts with color, as shimmering waves of synths carry the band and Omar's surprisingly restrained guitar work invokes kaleidoscopic psychedelia rather than his typically bombastic prog-rock stylings. The music itself captures a relaxed tropical feeling, yet it is held together by the haunting vocals of Teri Gender Bender, also of Le Butcherettes. Often tense, her cryptic, well-performed vocals overlay the music with a sense of dread and seriousness, which creates an interesting dichotomy that is astutely reflected by the bands name. As a result of the group's ability to weld together two seemingly opposing moods, they have wound up with an album that remains interesting, varied, and rewarding on repeat listens.
"Bosnian Rainbows" kicks off with the slow-burning "Eli", which begins with a cryptic minimalistic section and brilliantly builds and stops at the verge of chaos, which exemplifies the expertly restrained songwriting that is displayed throughout the record. The song has proven to be a grower, and time has shown it to be one of the album's strongest tracks. That being said, perhaps the strongest part of this album is its consistency. No single track stands out as being obviously the best, and there are few weak points throughout. The whole album flows together impressively, and with a run time of under fifty minutes, the album coasts by for a listen that is much less fatiguing than what Omar's followers may be expecting. The best songs on the album will likely be determined by personal preference- for those craving prog rock structure, "Turtle Neck" or "Mother, Father, Set us Free" will likely be the standouts, while others enjoying the more laid back moments of the album could easily have "Morning Sickness" as a favorite. The band did an excellent job at holding together an array of different sounds while still keeping them centered around a strong thematic core.
It is important not to allow context to cloud judgement when listening to this album. Had The Mars Volta not broken up and this were only an Omar side project, it likely would have been met with much more positivity and seen as a strong point in Omar's prolific discography. In truth, this album is a mature effort from a competent group of musicians. Time will tell if the band has legs or not, but at the very least, this is a promising start to a new project, and I daresay it is at least on par with the last couple Mars Volta albums.
