ZECHS MARQUISE

The first thing that needs to be said about Zechs Marquise is their blood relation to progressive psychedelic rock group The Mars Volta. Reading up on their history, I was obnoxiously excited to see that Omar Rodriguez-Lopez has three brothers in this band. Anyone who’s anyone knows the immense trip that Volta can produce on an album or playing live. Much of this impact is due to Omar’s flawless, frantic guitar riffs that compare to no other. That being said, one can only hope that his musical brethren are equally as talented. If Getting Paid were a movie like its cinematically styled cover art implies, the parts to the whole should result in a blockbuster.

The Pros:
From the beginning drum burst of “Getting Paid,” this album gets down to business immediately. Get used to the Rage Against The Machine-esque drum-bass-guitar combination. Marcel Rodriguez-Lopez pounds the floor with his set of skins constantly; you are never left with a quiet moment. He is never unaccompanied by his brother Marfred on the bass; (Marcel apparently took Rikardo’s spot in the studio for supplying keyboards, but they still sound amazing). Their sound is pure thunder. “Mega Slap” epitomizes the band’s sound as a whole. The flow never ceases, and most simply put, Getting Paid practically oozes macho volition.

Zechs Marquise is primarily an all-instrumental band, except for a few standout cases on this LP. “Static Lovers” for example features minimal and almost incoherent lyrics towards the song’s end. Alone, this track is awesome (akin to the rest of the album), but the vocals that kick in harken back to The BeeGees, and it makes for such a ludicrously tasty cut. “Everlasting Beacon Of Light” is another sizzler that takes the listener on a funk-fueled journey with the power of its melodic singing. Arguably the absolute gem of this release could be “The Heat, The Drought, The Thirst, And The Insanity,” a very solemn, vocal offering that rings a bell to that of The Mars Volta’s “Miranda That Ghost Just Isn’t Holy Anymore.” They hit all the right places, from haunting to vivacious, without faltering one note.

The Cons:

Passive listeners may tune in and immediately assume that Omar’s family members are attempting to cash in on his success and notable sound. The complicated rhythms, the guitar solos, and the CRAZY drum beats (see: “Mega Slap”) could all just be an imitation.

Superficially, and I mean superficially, this is conceivable. However, what Zechs Marquise is doing speaks volumes about singularity. They have plenty of image and sound to go on that they will remain recognizable. The biggest mistake a listener can make about these guys is comparison to Volta. ZM relies more on the full band participation and use of keyboards. Omar and Cedric’s outfit takes a more progressive route and are a lot less straightforward. So throw judgment to the wind and delve into Getting Paid, because truthfully, there’s not a single problem with it, only panache.

The Verdict: 
If I do not see Zechs Marquise gaining loads of popularity from this album, I will be gravely disappointed. It has been too long since an instrumental group has shown their face without sounding post-rock. Getting Paid is powerful as hell, and it will stomp you into the ground through the speakers. Without a doubt, this gets my nomination for album of the year, as it is one of the very best I have heard thus far. -  Review by Ryan for 402 Productions