‘The Bedlam in Goliath’ is a dexterous manifestation of cosmic and uncharted dimensions.

The Mars Volta has created a maniacal juggernaut. On Jan. 29, the Volta released their fourth full-length studio album, “The Bedlam in Goliath” (Universal, 2008).

Lead guitarist and producer Omar Rodríguez-López weaves together an intricate tapestry of movements. This album marks the perpetual progression of a band more often than not pigeonholed in the overly generalized label of progressive rock.

The opening track, “Aberinkula,” assaults the listener with a hailstorm from the rhythm section. Thomas Pridgen, drummer and recent addition to the Volta's flourishing list of personnel, immediately establishes a lasting presence. His contribution unveils a firm, yet artfully consistent approach. Stylistically lacking an ear for restraint, he relentlessly drives both spurs into the proverbial horse.

Vocalist Cedric Bixler-Zavala significantly distances himself from previous work on “De-Loused in the Comatorium,” “Frances the Mute” and “Amputechture.” A striking falsetto, utilized in contrasting terms from past Volta albums, is woven throughout.

“Goliath” and “Metatron” are a frenzy of commotion and writhing intensity. The final track, “Conjugal Burns,” closes the album with a cryptic lullaby. After four studio albums, Bixler Zavala has finally learned to control his dynamics.

This album represents the most spiritually entrenched body of work from the Volta's catalog. The story behind “The Bedlam in Goliath” is one of sudden misfortune, demonic spirits and an all-consuming curse.

Omar Rodriguez-Lopez took time off in Jerusalem after the completion of the band’s third record. Before returning home, he purchased an archaic ouija board as a gift for lead vocalist Bixler Zavala. While on tour with the Red Hot Chili Peppers, the band began experimenting with the ouija.

Initially, the board revealed harmless names and predictions, but as the tour progressed so did the band’s captivation with it. The ouija board started referring to itself as the Soothsayer, demanding offerings in return for more graphic information.

The Soothsayer told of a murderous love triangle full of deceit and vengeance. Oh, how the plot thickened.

Demands of petty offerings quickly turned into the desire for a human vessel in which to manifest itself. The Volta's ardent devotion to the Soothsayer ended after it threatened to put a curse on them. When the tour ended, Omar took back the gift, broke it into seven pieces, and buried it deep in the ground.

Months later, strange things began happening. For example, one member of the Volta was diagnosed with an extremely rare blood disease; Omar’s apartment flooded, destroying most of his equipment; tracks began disappearing during the recording sessions for this album; and the recording engineer had a mental breakdown and attempted to erase the entire album.

“The Bedlam in Goliath” is a dexterous manifestation of cosmic and uncharted dimensions. With every movement, the Mars Volta stretch their creative boundaries, forging an undeniably potent sound. From beginning to end, the listener is made witness to 75 minutes of undiluted ecstasy.

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