Since the beginning of his solo career, song reworkings and rearrangements have appeared frequently across Omar Rodríguez-López’s oeuvre. Samples and sequences recur on most of his electronic music, and many of the spacey instrumentals that featu[…]

Lately, the weather has been seesawing wildly through various meteorological events over the course of any given day, as is oft springtime’s wont. These icy, azure early mornings remind me of the Blind Worms, Pious Swine cover. Of course, the buds […]

To suggest that delivering three albums over a twelve-month period indicates a slow year would normally be ridiculous, but for Omar Rodríguez-López fans, 2012 probably felt a bit like an old-timey cowboy actor (i.e. Slim Pickens). To give this a b[…]

Unlike several other Omar Rodríguez-López albums, the contents of A Lovejoy are accurately reflected by its cover. The bright colours, glitzy lights and disco font signpost a collection of infectiously catchy dance tracks, so despite the name, ther[…]

I joined last.fm in 2007 because I’d seen some of my friends use it to tag their LiveJournal entries with the song they were currently listening to and thought this was a pretty boss idea. But I soon realised that as far as I was concerned, its pri[…]

To say that a new type of lockdown music has entered the swollen ranks of hyper-specific genres is clearly inaccurate, but I think it’s also safe to say that what is being released during this time has a unifying theme. I’m hearing a lot of frust[…]

I recently reread Elena Ferrante’s excellent Neapolitan quartet with the same obsessive passion that consumed me when I read it the first time. It’s a sprawling Bildungsroman packed with evocative characters and slow-burn plotlines that, even on […]

Wikipedia has been a blessing and a curse for the Omargeddon project. On the one hand, it’s brilliant for stuff like release dates, personnel and links to interviews. On the other, some of the data is patchy, as when noting and linking previous ver[…]

Despite knowing that attempting to construct a linear timeline for the solo work of Omar Rodríguez-López is a self-confessed fool’s errand, I’m nothing if not stubborn and continue to obsessively trace connections across songs and albums. I’v[…]

I’ve been categorising Omar Rodríguez-López’s solo recordings into three distinct, non-equal eras. Early ORL spans from 2004-2009, mostly consisting of experimental jams that were often reappropriated as Mars Volta songs. The middle period from[…]