Omar Rodriguez-Lopez ‘Blind Worms, Pious Swine’ Review: the third (in a series of 12!) solo releases from the ever prolific At The Drive-In, Mars Volta multi-instrumentalist.
[rating=5]
Omar Rodriguez-Lopez ‘Blind Worms, Pious Swine’ marks his third release of 2016, unloading a catalogue of previously unreleased solo material (twelve releases in total).
Whereas the first entry ‘Sworn Virgins’ (click for our review) was aggressive electronica and sophomore effort ‘Corazones’ (click for our review) featured sober, poetic balladry, ‘Blind Worms’ splits the difference to wonderful effect, with delicate compositions augmented by cinematic electro-sheen.
Opening lullaby ‘Vanishing Tide’ sets a serene spell, followed by the post-punk moodiness of ‘Atlantis Is Rising,’ full of nocturnal oceanic atmosphere.
‘Blind Worms’ most arresting asset is Le Butcherettes vocalist Teri Gender Bender, who provides backing vocals throughout, and makes a fine pairing with Rodriguez-Lopez’s reedy, airy delivery. Their androgynous blend soars on tracks like the sleek synth wave of ‘Black Mass’ and the albums best track, ‘Tunnel Riot.’
It’s this song that resonates the most, a bonafide earworm featuring an infectious synth riff and anthemic chorus.
The most unlikely moment is ‘Lights’, a cover of the smash hit by pop songstress Ellie Gould. In Lopez-Rodriguez hands it becomes a melancholic torch song with Gothic ambience.
Some ORL fans may find this more accessible material a bit too straightforward. And for those longing for Mars Volta’ish prog theatrics, it’s the tail end of ‘Blind Worms’ that will be the most appealing.
Rodriguez-Lopez engages his noise-merchant/math-noodling skills on the three final (and all-instrumental) tracks (‘Hieroglyphs From Hell/Acacia/Only Nothing Is’), a trio of aggressive and brooding soundscapes that bridge murky synths and waterlogged guitar squiggles.
In many facets ‘Blind Worms, Pious Swine’ is one of the most satisfying of his 2016 releases, even if it’s tonally jarring at times. Its Rodriguez-Lopez at both his most accessible and oddball, providing an interesting dichotomy in the process.
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