Sound
Frances the Mute is comparable to The Mars Volta's 2003 release De-Loused in the Comatorium, with its cryptic lyrics and highly layered instrumentals, although the progressive rock influence is stronger on Frances the Mute than it was on De-Loused in the Comatorium. Perhaps because of inspiration from such Pink Floyd albums as Meddle, ambient noise plays a larger role on Frances the Mute than it does on De-Loused in the Comatorium. Notably, "Cygnus....Vismund Cygnus" ends with the recording of children's voices and passing cars (said to be made by Omar in front of the house where he used to live with Cedric and Jeremy), while "Miranda That Ghost Just Isn't Holy Anymore" begins with 4 minutes of coquí frogs (credited as "The Coquí of Puerto Rico" on the album sleeve) singing while a thick soundscape is slowly built from Cedric Bixler-Zavala's voice and synthesizers.
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“Wild as it was, it was hard for me to get rid of the associations of the settlements. Any steady and monotonous sound, to which I did not distinctly attend, passed for a sound of human industry.... Our minds anywhere, when left to themselves, are always thus busily drawing conclusions from false premises.”
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“Comrades, leave me here a little, while as yet ‘tis early morn:
Leave me here, and when you want me, sound upon the bugle-horn.”
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“There is a silence where hath been no sound,
There is a silence where no sound may be,
In the cold grave—under the deep, deep sea,
Or in wide desert where no life is found,”
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