Alana Melanson: The Mars Volta

To be truthful, I didn’t listen to a whole lot of music this year. But when I did, it was mostly to rediscover old favorites that had fallen out of play.

That rediscovery journey — buoyed by the announcement of a reunion tour — starred one of my absolute favorite bands, The Mars Volta.

The Volta are not for the faint of heart. Their cryptic lyrics can be very confusing for many, often seeming like oddly composed collections of obscure words. They effortlessly slide between English and Spanish, weaving disturbing tales that seem ripped out of hellish nightmares. Progressive rock is probably the best way to describe their style, which takes inspiration from a wide range of genres including metal, jazz and Latin.

Despite all of the albums that have been released since, “De-loused in the Comatorium” remains my favorite, followed by “Frances the Mute.” They came out during a musically formative period for me, and have stuck with me since.

I’d seen The Mars Volta a couple of times years ago, and around 2012 was treated to a surprise appearance from singer Cedric Bixler-zavala at an Omar Rodríguez- López project show in Boston. My nostalgia peaked when the band returned for its reunion tour in October, resparking my love for this oddball group. Though the lineup has changed some since those earlier years, founders Omar and Cedric still have the magic that first drew me to them.

Another album I turned to time and again this year was Morphine’s “Cure for Pain.” Something about Dana Colley’s baritone sax just always has a way of making me feel better when I need a little pick-me-up.