In November 2007 The Mars Volta released a document by friend Jeremy Robert Johnson called "The Mars Volta's Descent into Bedlam". It included a history of the band and the supernatural occurrences they encountered in creation of their latest album The Bedlam in Goliath. The band are known for their epic neo-psychedelic works and explosive onstage antics. I spoke to vocalist Cedric Bixler-Zavala shortly before their recent gigs at the Roundhouse in London.

Dazed Digital: Your label Universal wanted to release the epic "Goliath" as a single from the last album but you opted for the more radio-friendly "Wax Simulacra".
Cedric Bixler-Zavala: The label kept handing in these edits that didn't sound like anything we would do at all. Especially the drum parts, it's really difficult to edit our drummer, especially if you aren't familiar with his vocabulary, musically speaking. To take away the drum part would ruin the song.

DD: How have the dynamics changed in the band with new drummer Thomas Pridgen?
CBZ: "He has gelled well with the band, we didn't know what tricks he was going to bring out. I mean with punk rock, we took that gamble. Me and Omar take risks all the time otherwise it's just that sort of a relationship that has one sexual position or one kind of conversation, it just becomes really mundane. We arm ourselves with people who have the ability to be instantaneous and that are just a little out there I guess.

DD: On each album contributing musicians are not credited for each song but under the moniker of The Mars Volta Group.
CBZ: Well, what John Frusciante is doing is pretty much mimicking Omar and learning exactly what he has taught him. I could take the time to separate each track but the reason why we have it set up the way we do is that, coming from a band like At the Drive-In, they kept the focus on the singer and guitar player and ignored everyone else in the band. We are the definition of what a motley crew is now.

DD: One influence on The Bedlam in Goliath is spirits that were trapped in a Ouija board.
CBZ: Yeah, essentially that's just a catalyst for what it's really about. Did we make contact with the dead? I would say yes. The spirits had a story to tell about the way they were treated and I totally believe it. We just came across a talking board and trapped inside this prison were people who had met foul play by honour killings. As an artist these ideas are always floating around but it's whether or not you have the guts to talk about it. We realised there was a story there and that the story was really taboo. Most people who talk about this end up getting fucked up. It's not just in the Muslim religion, but if there's a problem in the family if a woman's been raped, supposedly cheated on her man, they learn from the Qur'an to kill the woman. We don't want to get into Salman Rushdie mode, but it's not oil that should be liberated, it's women.

DD: As a band known for your videos, the ones released to accompany this album are mocking your rock star image.
CBZ: "The video format in general is corny already. "Ilyena" in particular is about Career Day at school - we were just making fun of Van Valen's "'Hot for Teacher". The idea for the webcasts is that when I sit on a plane and there's a brain surgeon and banker next to me I'm completely embarrassed to admit I play in a rock band.