Omar Rodriguez-Lopez served as the primary guitarist, producer, and musical navigator for godly prog rock outfit The Mars Volta for the past decade. Before that, he handled guitar duties for post-hardcore/punk luminaries At the Drive-In for the duration of their mid-nineties-early-aughts run. In addition, he's explored his dub inklings as De Facto's bassist, and collaborated with seriously cool people like John Frusciante and El-P (+ hella more). His easily found full-length recordings pile up to near fifty. I'm convinced he doesn't sleep, and grows music on a farm in his pocket! I'm pretty sure I read somewhere that he stopped breathing ambient air a few years ago, and instead just started exhaling tangential chord progressions.
Omar Rodriguez-Lopez (center-left) with Bosnian Rainbows
About that set up: the players were placed very close together, with some cool Virus equipment that had glowing green emblems. The layout looked pretty sweet, though Omar didn't use most of his equipment that much. He would say before their last song that they had made a lot of technical mistakes, but it sounded perfectly amazing to me. The music Bosnian Rainbows played was powerful yet concise. It was highly melodic, with Kasper forming some forceful bass lines beneath Rodriguez-Lopez's wailing guitar, and Gender Bender howling some anthemic, reverb-backed choruses. It was far more accesible than I ever would have imagined from an experimental genius like Rodriguez-Lopez, but Gender Bender made up for any semblance of normalcy with her captivating caveperson performance artistry. Also, what's more experimental for a guy like Rodriguez-Lopez than practical rock? It was a bold move, fantastically executed by perhaps the most forward-thinking composer of our time, and one that I'd go see again tonight in a heartbeat.