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COHEED AND CAMBRIA

Crossover Prog • United States


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Coheed And Cambria biography
BIOGRAPHY
Hailing from Kingston, New York, progressive rock quartet COHEED AND CAMBRIA are known for being the first and only "concept band." That is, all of their albums' lyrics and music are intertwined with a story written by frontman Claudio Sanchez known as "The Amory Wars." The first album released, "The Second Stage Turbine Blade," is the second part [although the first CD] of their five-part saga. It was released in 2002, and after extensive touring, Sanchez released a graphic novel describing in further detail the plot of the story.

Post-Second Stage, COHEED AND CAMBRIA began recording in Japan between tours. The result came out that fall, and was their next album "In Keeping Secrets of Silent Earth: 3." This continued to garner this rising band's popularity with the singles "Blood Red Summer" and "A Favor House Atlantic," which at the time gained much airplay. Afterwards, COHEED AND CAMBRIA departed from Equal Vision records and signed to Columbia, putting out the newest studio disc "Good Apollo, I'm Burning Star IV, Vol. 1: From Fear Through The Eyes of Madness." The long pretentious title indefinitely rings prog, as does the music. The singles "Welcome Home" and "The Suffering," although far less progressively inclined than the rest of the album, strongly supported the album in it's sales, shifting it to #7 on the Billboard's Top 200 Albums. "Good Apollo" is the first of the two-part conclusion to The Amory Wars.

Most recently, Josh Eppard and Michael Todd, COHEED's drummer and bassist respectively, left the band for personal reasons. Although Todd returned to his bass just in time for the next release, drumming duties were then assigned to THE DILLINGER ESCAPE PLAN's impressive and skilled Chris Pennie, who added a pleasant new flavor to the band's repertoire. This upcoming release's recording process took place in early spring of 2007 and was finalized that May. The band then toured every date with Van's Warped Tour that summer. The album, titled "Good Apollo, I'm Burning Star IV, Vol. 2: No World For Tomorrow" is scheduled for October 28th 2007.





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Although a simplistic, shallow analysis could be made, claiming that COHEED AND CAMBRIA are merely a modern-emo-rock group, the deeper meaning can be found by looking more closely. COHEED AND CAMBRIA are a band who have differentiated themselves from their peers by writing more complex songs, more ep...
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  • The Crowing In Keeping Secrets of Silent Earth: 3, 2003
  • Welcome Home Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness, 2005

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Good Apollo I'm Burning Star IV Volume One: From Fear Through The Eyes Of MadnessGood Apollo I'm Burning Star IV Volume One: From Fear Through The Eyes Of Madness
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In Keeping Secrets Of Silent Earth: 3In Keeping Secrets Of Silent Earth: 3
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The Color Before The Sun (Explicit)The Color Before The Sun (Explicit)
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Second Stage Turbine Blade (Re-Issue)Second Stage Turbine Blade (Re-Issue)
Extra tracks
Equal Vision Records 2005
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The Afterman: DescensionThe Afterman: Descension
Hundred Handed Inc 2013
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Year Of The Black RainbowYear Of The Black Rainbow
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NeverenderNeverender
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Sony Legacy 2009
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COHEED AND CAMBRIA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

COHEED AND CAMBRIA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.35 | 95 ratings
The Second Stage Turbine Blade
2002
3.77 | 133 ratings
In Keeping Secrets of Silent Earth: 3
2003
3.65 | 158 ratings
Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness
2005
3.73 | 147 ratings
Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow
2007
3.26 | 96 ratings
Year of the Black Rainbow
2010
3.82 | 80 ratings
The Afterman: Ascension
2012
3.77 | 79 ratings
The Afterman: Descension
2013
2.87 | 14 ratings
The Color Before The Sun
2015

COHEED AND CAMBRIA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.50 | 6 ratings
The Afterman: Live
2013

COHEED AND CAMBRIA Videos (DVD, Blu-ray, VHS etc)

3.90 | 10 ratings
Live at the Starland Ballroom
2005
4.20 | 5 ratings
The Last Supper
2006
4.63 | 18 ratings
Neverender: Children of the Fence Edition
2009

COHEED AND CAMBRIA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.57 | 14 ratings
Neverender: Children Of The Fence Edition
2009
4.00 | 1 ratings
The Essential Coheed And Cambria
2015

COHEED AND CAMBRIA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.50 | 6 ratings
Live at La Zona Rosa
2004
3.17 | 5 ratings
Neverender 12%
2009

COHEED AND CAMBRIA Reviews


Showing last 10 reviews only
 The Color Before The Sun by COHEED AND CAMBRIA album cover Studio Album, 2015
2.87 | 14 ratings

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The Color Before The Sun
Coheed And Cambria Crossover Prog

Review by crashandridemusic

2 stars It pains me to write this review, since Coheed and Cambria are so near and dear to my heart. First listening to them on their heavy, jammy, and very proggy album 'Good Apollo, Volume I' over ten years ago, my life changed. Over the years, though, I could hear subtle and gradual changes in their sound, something I've always waved off as a band evolving and gaining new perspective. But their latest album 'The Color Before The Sun,' which will be released Friday, is the furthest step away from the band I've grown to love.

A tear is figuratively running down my cheek as I say these words: Coheed has released an ok-at- best album in 'The Color Before The Sun.' Something I've loved about Coheed and Cambria is their way to blend different musical genres into one whole. 'A little poppy, a little jazzy, a little metal, a little punk, and a little proggy' is how I'd describe their previous albums, since it was so hard to nail down one word to define them. Their newest album, though, is simply pop and punk. There are little to no moments of that emotional headbanging and soloing, or that technical and jazzy arrangements in this album. Having listened to so many harder and more thought-provoking albums over the last couple months, I was let down by the simplistic, mind-numbing approach of this album. Where are those moments that when recreated live the crowd goes absolutely nuts? They've been buried six feet under, with pop and punk shifting their eyes in panic. That competition over sound is over, and what's won is a product I'm not too impressed with.

Take opener 'Island,' a song with ridiculously lighthearted lead guitar, simplistic Blink 182- sounding drumbeats, and overdriven punk guitar rhythms. I was teased with an intro containing train station soundscapes (something ordinarily proggy), but was immediately let down by the lack of heaviness on the track. Coheed is known for making some amazing opening tracks, but they completely missed the mark with this song. Another song is 'Young Love,' written about their notorious (to fans) home/recording studio that was nearly destroyed by tenants trusted by the band. Although the song itself isn't awful, the main guitar lead that carries the melody sounds out of tune, which isn't pleasing to my ears. Later in the album is 'Ghost,' an acoustic track about mornings in New York City. The track is softer than anything Coheed has ever released, but not of what Claudio himself has released. Having a softer side project in the Prize Fighter Inferno, this track (along with others on this album) feels like Claudio was sidetracked with his intentions, deciding on releasing it through the bigger brand that is Coheed and Cambria. The album closes with yet another soft song 'Peace to the Mountain,' which although is one of the winners on this album, suffers another identity crisis with acoustic guitars, tambourines, and trumpets. Much of the album contains these songs that simply don't sound like the band, tricking me into believing I'm listening to something else.

As much as I disliked 'The Color Before The Sun,' there are a few tracks that I actually did enjoy. The third released single 'Eraser' is one of the hardest tracks on the album. It reminds me of songs from their albums 'Year of the Black Rainbow' and 'The Afterman,' which under normal circumstances isn't necessarily a compliment, but in an album devoid of 'that classic Coheed sound' is better than nothing. The ooh-ooh's and ha-ha's that is undefinably Claudio Sanchez always gives me a smile, while the catchy chorus and guitar solo in the bridge section have enough power to make my body move to the music. Another great song is 'Atlas,' a song originally written on an acoustic guitar for Claudio's yet-to-be-born son. I especially enjoyed the heavy bass guitar presence in the song, along with the intricate dual guitar patterns played by both guitarists Sanchez and Stever. Finally, the second to last track 'The Audience' is easily my favorite song because it actually sounds like Coheed and Cambria! Reminiscent of the song 'Vic the Butcher' from 'The Afterman' (see above), I enjoyed the dark, eerie vocals, heavily overdriven rhythm guitar, and frantic, deep drum beats. It is the most repeatable song off the entire album, a song I wish was the standard for the entire album.

When asked how I felt about 'The Color Before The Sun' from a friend of mine, I could only respond that 'at least 'Year of the Black Rainbow' isn't my least favorite Coheed album anymore.' If this album had just been released as the Prize Fighter Inferno, Claudio Sanchez's electronic- acoustic-lighter side project, I would've had a completely different perspective coming into the album, and perhaps a differing opinion. Unfortunately, labeling this album as 'Coheed and Cambria' did the band injustice, merely appealing to new listeners and leaving longtime fans in the dust. But I forgive you Claudio and company; I understood what you were trying to do. I'm just not a fan.

Taken from crashandridemusic.com

 In Keeping Secrets of Silent Earth: 3 by COHEED AND CAMBRIA album cover Studio Album, 2003
3.77 | 133 ratings

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In Keeping Secrets of Silent Earth: 3
Coheed And Cambria Crossover Prog

Review by TCat
Prog Reviewer

3 stars After enjoying "Good Apollo", which is the album that followed this one in the order of albums released by the band, I decided to explore the music further. I took a chance and took a step backwards in time to this album. Again, this album is still based on the same story as "Good Apollo" which is a huge concept story. One advantage of going backwards in their discography, is that I can clearly see how they have progressed. This album has a lot more leaning to the punk and emo sounds that the band evolved from, and it is also not very progressive when compared to "Good Apollo". The tracks are pleasant enough I suppose, but it definately is not as interesting. But you have to at least give some props to the band for the amount of progression from this album compared to the next album, which is something I sort of understood by reading other reviews.

Because the music is more mainstream and poppier on this album, the vocals are probably more annoying, almost sounding boy band-ish in some places. But you can hear some intellect in the music too, especially in the album centerpiece "The Velourium Camper" which is a 3 part suite, and this is the redeeming suite of the album, the remainder of the tracks being just too straightforward and pop sounding. The band, however, is very talented and would continue to strengthen their songwriting skills and so I don't judge the band so much off of this album than I do off of "Good Apollo", which is a very strong 4 star album. This one, unfortunately does not reach that status as it is simply a good mainstream album with some great hooks and interesting passages. So, I would have to say this one is not bad, it's just not really great either. But it is a great example of progression when you compare this album and the next one. 3 stars.

 Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness by COHEED AND CAMBRIA album cover Studio Album, 2005
3.65 | 158 ratings

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Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness
Coheed And Cambria Crossover Prog

Review by TCat
Prog Reviewer

4 stars So, this is a band I'm not as familiar with as I should be. This is so far, the only Coheed and Cambria album that I own, and I must say that I enjoy it to a certain extent. I know that their roots were in some kind of emo and punk combination, but I hear very little of that in this album. Instead, what you get is a very nice combination of progressiveness and some leanings towards a poppy sound at times. The most progressive parts are the best, but the poppier songs aren't really that bad either. When the band is good, they are really good. Tight playing, a complex concept based on a sci-fi story and some heavy passages that never get overbearing plus some very inventive songs mixed with a few lighter ones gives a good feeling of variety so that one doesn't get too tired of the sound. The concept is complex like I said before and actually spans several albums. I have no idea what the story is, but I plan on understanding it better because the music is good enough to merit several listens, and as I become more accustomed to the vocals, I think I might even decide that it deserves a better rating than what I give it here. The vocals....I do have a problem with them, but that problem has become a smaller and smaller problem the more I listen to this. They seem like they are not so believable because the vocalist does have a slightly immature sounding voice, but I know that when the music and the composition is as good as what this is, I have been able to adjust to vocals in the past with other bands, and I really think that will happen here. Ask me again in a year or so and I bet that they won't even bother me anymore.

Rhythms are complex and challenging at times, and simple and almost radio oriented at others. The band reaches a perfect balance here in my opinion. The album opens with a beautiful orchestrated instrumental which is followed by an impressive track "Always and Never" and then followed by a full on prog track called "Welcome Home". This is followed by a harder track with again a good amount of prog elements to is called "Ten Speed". After this, the middle of the album does tend to sag a little bit, especially in the first listenings because the songs tend to get a little more radio friendly for a while, and as a result, start to sound a little too much the same. The more you listen to this album though, the more you hear, and the songs to start to grow on you and you do notice each one has it's own personality. The beautiful slower track "Wake Up" breaks this sameness up a little bit, and is to me the best of the middle tracks, but the immaturity of the vocals really shows through here, even though the song is beautiful. After that, the songs build in progressiveness again until the more complex "Mother May I" and the excellent 4 part suite "The Willing Well" which is full blown progressive rock again. The songs are typically (but not always) vocally driven, the rhythms complex and changing. The only slight complaint here is I wish there were more instrumental passages here, but that complaint will fade as I get more familiar with the suite. There really is a great instrumental section that finally ends off the suite about half way through the last movement that is simply amazing and shows off the talent of the band. Then there is this very surprising coda that just comes out of nowhere....

Very good album, impressive compositions and instrumentation, I am more than willing to familiarize myself with the band better now that I have gotten to the point that I do enjoy this album. As of now, I have to give the album 4 stars because of the few complaints that I have, but as I get used to the sound, my feelings about this could very well change. My son loves this band, and so, with his encouragement, I will familiarize myself with the band better. For now, this is definitely an excellent album and a great addition to your prog collection.

 Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness by COHEED AND CAMBRIA album cover Studio Album, 2005
3.65 | 158 ratings

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Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness
Coheed And Cambria Crossover Prog

Review by Obsidian Pigeon

2 stars I've tried numerous times to get into Coheed and Cambria's music, but to no real avail. While Welcome Home is an all right track, I've simply just grown to dislike it the more that I've heard it. Many of the songs on this album are just straight up unimpressive and seem pretty uninspired, and Claudio Sanchez's voice does not help at all.

This album contains a few highlights, namely the Willing Well II: From Fear Through the Eyes of Madness, which I feel could have been shortened by at least a minute because the ending is relatively repetitive, and perhaps Willing Well III: Apollo II: The Telling Truth. I don't think I can ever bring myself to listen to this entire album again, as I really don't like their punkish influence (not that I dislike all punk; I simply don't like the way Coheed and Cambria incorporate it) and at times grating vocals.

 The Second Stage Turbine Blade by COHEED AND CAMBRIA album cover Studio Album, 2002
3.35 | 95 ratings

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The Second Stage Turbine Blade
Coheed And Cambria Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE Team

1 stars Ugh. I can't say much that I like about this album. To me it simply sounds like a garage band version of the Mars Volta. I know this came before their debut album but I actually prefer their version of screamo emo. Every song on this album sounds the same. It's the same mono-drumming, the same riffing, the same awful vocals. There is some stuff from this band that is absolutely brilliant so when I saw this first album at a very discounted price I thought i'd pick it up and give it a spin. What can I say? I love so much music and there's really not much out there that I just can't stand but I hate to say it fans of this album that this is one of those albums that makes me cringe. The only thing I like about this album is some of the really cool spacey intros to the songs. Throughout the whole album I keep wishing that they would just explore that territory and make an awesome ambient album instead but then it turns into.... well, something that displeases me immensely :(
 The Afterman: Ascension by COHEED AND CAMBRIA album cover Studio Album, 2012
3.82 | 80 ratings

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The Afterman: Ascension
Coheed And Cambria Crossover Prog

Review by REDoftheSentai

4 stars *Lots of Potential Spoilers*

I had listened to Coheed for a couple of years before I ever looked into the ACTUAL STORY that was taking place. I really just liked the music (for the most part) and tried to figure it out on my own. Then time passed and I just kind of... forgot to find out what was actually going on? I don't know, I listen to a lot of music and it's a pretty big dedication to read tons of backstory (in addition to other comics I keep up with). But when I heard about the Afterman duo, I decided it was probably about that time (considering how far back it goes in the storyline). These albums have a special place in my heart, they motivated me to do my research.

When I first heard "Domino the Destitute" (later to be known as "Key Entity Extraction I: Domino The Destitute") I was not impressed. Upon first listen, it seemed very basic and though I would later come to enjoy it, I kept wishing for more from the album. It was the radio edit and it lacked the flavor I would later find DID, in fact, exist in this eight-ish minute long anthem of the downward spiral.

When the video hit the net, I lost my poop.

There had been several incredibly key points that didn't make the radio waves. Points that made this 2D track 3D and all-encompassing. The video told the story and it gave me chills, a goosebump inducer to boot! That was when my interest in the entire project went from "uh oh" to "THERE IT IS!"

Like many Coheed fans, the first thing I heard of either album was Claudio's acoustic demo of "Sentry the Defiant." There were few things I wanted more than to hear a studio version of it. But I was kind of irked to see it wasn't in the track list, and would be on the following album. No, the Children of the Fence and I would end up waiting a year for that slice of awesome. But that story is for another review.

A:A delivers on its name with the simulation of the rise and the pressure built from the ascent, which causes damage to the eventual vessel that is Syrius Amory (the protagonist of the tale) will accrue. You will quickly find that his ascent is not exactly a heavenly rise into Peaceville. . It's really more of a "the higher up you are, the harder the impact of the ground" tale. Though it has very beautiful moments, such as the title track "The Afterman" and the forlorn "Evagria the Faithful," the events taking place are sometimes a little unsettling. Such as the "Goodnight, Fair Lady," which oddly enough is probably one of the more songs you'll hear about someone trying to DATE RAPE a woman (Amory's wife) by putting a Forget-Me-Now in her drink. But because it sounds like a Rush rock opera/musical, it's easy for the actual words to go over your head if you haven't heard Claudio explain what it's about via Youtube video. It would actually be a great tune to serenade a dame with if it weren't for the underlying menacing vibes. I would love to cover it in a public setting, but I also don't want to roll the dice on whether or not I will EVER SEE A VAGINA AGAIN BECAUSE OF IT. Still, a great little ditty!

The Key Entity Extractions were definitely the heavy hitters of the album. They pull you into the emotion the spirits (Domino, Holly Wood, Vic, Evagria) were experiencing at the end of their lives. Domino falls to his vices and poor decisions, so you feel the fall. Holly's vanity took over her mind and resulted in violent action. Vic... well Vic's a [%*!#]in' asshole, so the anger and destruction is very present in his memories. Evagria, love and loss.

The song's final track, "Subtraction," I have a hard time fully enjoying. It's by no means a bad song, I just thought it was better suited for Claudio's side project, "Prize Fighter Inferno." I would later find out that it was originally intended for PFI. So every time I hear it it pulls me out of the C&C element. Granted, both projects have stories based in the same universe... but they're so very different styles. It serves as an alright cliffhanger for the next album, so I try not to see it as the "last track" of the album. I try to see it more as a beginning to the midpoint of the whole picture.

A major change in approach with this album is Claudio's vocal parts. His voice seems to have matured in some way, so you won't hear his high parts if you have hangups about his voice sounding "ladylike" on occasion (I definitely thought it was a chick singing when I heard them for the first time in high school, and I know I'm not the only one who thought that when "A Favor House Atlantic" hit my head. Though I've gotten used to it and now really dig it, I can definitely see why Claudio's past vocal choices turn some people off to their music.

Sanchez has become a better story teller, no longer relying on graphic novels to fill in the blanks. The segues seem less random and more supplemental to the story. It is another era in the Coheed & Cambria lore, and in a way it's them at their best. I wouldn't say "The Afterman" is their best work to date, but it's definitely a new angle on a story that is still being told. If I was introducing someone to the work of C&C, I would probably start with something from "Ascension" or "Descension." They've learned a lot of things about songwriting and it shows in these albums. People that are very anti-Coheed probably aren't going to get into this, but I say give it a shot if you're open to the possibility that MAYBE... just maybe... you'll hear something you like.

 Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness by COHEED AND CAMBRIA album cover Studio Album, 2005
3.65 | 158 ratings

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Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness
Coheed And Cambria Crossover Prog

Review by Knapitatet

5 stars Coheed And Cambria is a group that is profoundly influenced by Science Fiction space operas, Progressive Rock,80's metal, 70s classic Rock and various guitar hero tropes (frontman Claudio Sanchez plays a double necked Gibson using his teeth and behind his back, without a shred of irony.)

Sounds like Progarchives wet dream right? Well there is a catch: C&C's music is also heavily based on a layer of pop. Indeed, in many cases their sound is interchangeable to the Post-Grunge sound that was so lucrative trough the 00's. On their latest albums the Punk sound is long since abandoned, but early in their career, songs like "A Favor House Atlantic" gained them a strong fanbase among Emo's and created some serious split personality problems on their records.

Beginning with this record i think Coheed And Cambria began to reassess their earlier Punk sound into something much more integral. There is nothing inherently wrong with mixing Prog with a more commercial genre of music, as long as the latter does not encroach on the former. King Crimsons experiments with New Wave from 1980 and onward are just as appreciated as anything before that by most fans. The newfound complexity in C&C's music is brilliantly showcased in the opening, where the ice cold strings of "Keeping The Blade" is contrasted with the warm classical guitar of "Always And Never". We are then thrown headfirst into the thundering metal tune "Welcome Home" wich features some serious guitar. The rest of the album consists of extremely solid hard rock tunes (and one ballad) with special mention going to "Ten Speed (Of Gods Blood And Burial)", "Apollo 1 The Writing Writer" and "Mother May I". This is both the albums strong and weak point. Strong, because these are some superbly written and performed rock songs and weak because are not superbly written and performed PROGRESSIVE rock songs. The Prog returns first on the ending suite "The Willing Well" and it delivers. All four of the songs except "The Final Cut" have a strong Rush influence and make good use of shifting time signatures and polyrythms. "The Final Cut" is a guitar showcase where Sanchez and Stever duel against eachother and it is amazing. To summarize, "Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness" was not the greatest prog album of 2005 (That title goes to The Mars Voltas "Frances The Mute") and it was not even the greatest Alt Rock/Metal album of 2005 (both Strapping Young Lad and System Of A Down released far superior albums that year) but it is such a well written and memorable album that i must give it 5 stars anyway. Recommended for classic rock fans and new ones alike.

 The Afterman: Descension by COHEED AND CAMBRIA album cover Studio Album, 2013
3.77 | 79 ratings

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The Afterman: Descension
Coheed And Cambria Crossover Prog

Review by arcane-beautiful

5 stars So...Coheed releases a new album...I already know I'm going to love this.

Yes, I am a massive Coheed fan. I don't really need to say more. But, to be honest, when this album was coming out...I wasn't really expecting much.

I think I was thinking at the time "eugh...double albums...this is going to be left over material". But...this is Coheed...there is a reason behind all this (also, making 2 albums for the price of one saves a lot of money)

So...is this a brilliant sequel...or just a hashed up follow up...

It's a brilliant sequel obviously, but the reason why it's brilliant is a bit different to what you would expect. The first album had a "we're back" mentality, with the album being very grand and at times could even be over the top. This album on the other hand has an interesting structure...with the heavier and more out there songs starting the album off...but the other half of the album has a more relaxed and more controlled feeling. This completely reflects the concept of the album, and it really works and actually helps the tones and emotions of the album.

As usual, the band are on top form, and have even shown a lot more experimentation on this album, and at times there experiments could even be described as fearless. Claudios voice has never been stronger in my opinion, and any comments like "he sounds like Geddy Lee on helium" and all that stuff, may even be lost now. Claudio, in my opinion has always had one of the most interesting voices in music, and many people may try and compare him to other people, but at the end of the day...no one can.

1.Pretelethal - Usually Coheed start their albums with a simple instrumental introduction. It was very interesting to see them do a song like this. One of Coheed's most proggy moments in my opinion...and it's only really an introduction. 9/10

2. Key Entity Extraction V: Sentry The Defiant - The obvious single for the album. I remember when the acoustic version of this song leaked, I was pretty excited about this song. Then hearing a live version...and then seeing the band perform it live in the flesh...I was pretty stoked to hear the actual studio version. And yea, I love it. The only problem I have is when the high note is sung, Claudio tends to scream it, but I would have preferred him to have just sung it like he does in the last chorus. A small flaw, but meh, a pretty kick ass song nonetheless. 9/10

3. The Hard Sell - This song reminds me of Mother's Of Men. It has a similar feel and even structure to it. In fact, there may even be a link to these songs, but pretty kick ass nonetheless. Nice interesting harmonies and melodies throughout. 8/10

4. Number City - It starts off as a rather odd song, but as it progresses, its actually more of a return to form for the band. One of the most joyfull chorus' on a Coheed song. It twists and turns in a lot of weird manners, but still one of the most enjoyable songs on the album. 9/10

5. Gravity's Union - I think with Coheed epics, we can get 2 different types of songs. Like Domino in the last album, we had a "anthemic" epic. This is an example of a "progressive" epic, with its anthemic bits coming from the interesting twists and turns that the music has in it. One of Coheed's more interesting moments. 10/10

6. Away We Go - This song is pure cheese...but I love it. What, can I say, I just love cheese. For some reason, this song reminds of Journey (that'll explain the cheese). Definitely one of my favorite songs on the album. 10/10

7. Iron Fist - I remember when I heard the acoustic version of this song, I wasn't too excited. It was alright, but it really didn't excite me. Hearing this new version for the first time, I'm pretty impressed. They were able to take what I thought was an overly simple song, and really decorate it with something really brilliant. The instrumentation really gives this song its magic, and without it, it does seem a bit bland. 8/10

8. Dark Side Of Me - For some odd reason...this might be one of my favorite Coheed songs. Such a powerful vocal performance, and powerful lyrics (mainly due to this song being the climax of the concept). The music video for this song is a must see as well. 10/10

9. 2's My Favourite 1 -Ok...this is a great end to the album, but only one thing was going through my mind..."this sounds like Fall Out Boy." Good poppy ending to the album, and an interesting way to end the whole thing off. 9/10

CONCLUSION: Trying to pick a favorite between these 2 albums is a bit hard. The first one was a lot more in your face I think. This one is a lot more calmer and more easy listening. I think trying to choose between them is like a family choosing between 2 children. I love both albums and think they are masterpieces in Coheed's discographies, and prove that this band have a lot more to say in the coming years. Coheed have been album to get into my top lists of the year, 2 years in a row now. I will just assume that everything they make will be brilliant and never doubt them again.

8.7/10

 Year of the Black Rainbow by COHEED AND CAMBRIA album cover Studio Album, 2010
3.26 | 96 ratings

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Year of the Black Rainbow
Coheed And Cambria Crossover Prog

Review by iamathousandapples

2 stars When I first listened to this album back when it came out, I kinda glossed over it, seeing it as just another album in the release schedule and throwing it in the back of my music library. Having seen it there for all these years I decided to give it a couple of listens to actually get my actual opinion on this. After all, I listen to all of their previous releases on a near-regular basis, so why not this one? Turns out, there's some very good reasons why I threw it out.

For starters, it's not really very Coheedesque, and it suffers for that. Where the prominent and delicious guitar riffs would be, they replaced it with more drums, which are fine, but not really engaging at all. Where are the guitars now? Shoved in the back and doing less cool riffing and more mindless shredding and it too fails to engage at any level past "oh hey, that's kind of cool". All of this really just leads to an album that if you don't pay direct attention to, will make from 0:00 to 54:02 be entirely uneventful.

The production sounds really muddled, everything just kind of fuses into everything else with only Claudio popping up sometimes like in "The Broken" or "Far", but even he becomes a huge part of the blob. It takes a special kind of production to make the thing that your brain is built to focus on not be focused.

A lot of the songwriting here is a lot duller than your usual Coheed fare, too. There was never really a dull moment in any of the other albums, but now we have a couple of songs that have absolutely nothing going for them. One of the biggest offenders is Made Out of Nothing, which is just a couple of muttered verses and a chorus repeated ad nauseum like a dull 80's power ballad. The big supposed rocker "Here We Are Juggernaut" barely rocks too, suffering from the "throw the riffs under the bus syndrome" leaving the only bite to come out of Claudio's delivery of the chorus, and just can't hold it up alone.

The story is good in and of itself and if you're an Amory Wars fan or just a huge Coheed fan, you'll prolly enjoy it. If you're looking into Coheed and Cambria, go get In Keeping Secrets of Silent Earth or Good Apollo I'm Burning Star IV and steer clear from this. You'll be bored to tears otherwise.

 The Afterman: Descension by COHEED AND CAMBRIA album cover Studio Album, 2013
3.77 | 79 ratings

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The Afterman: Descension
Coheed And Cambria Crossover Prog

Review by Gallifrey

4 stars Coheed and Cambria - "The Afterman: Descension"

14/20

There's a darkened room, a subtle noise and a wavering voice. Sounds coming from all angles, like being surrounded by constant happening. Something is coming?

WHO WILL REPAIR THIS BROKEN HOME?

And we're back. This is Coheed & Cambria chapter 6 part two, or chapter negative one, depending on whether this is a prequel or sequel or neither. I'm not really sure what's up with their concept at this point, but all I know is that Sanchez and men have completely nailed the "sonic cliffhanger" he claimed bridged the two halves of the Afterman. "Pretelethal" sounds like an epic rebirth, that feeling when every character in a TV show is dead, but the new episode shows they're not. Truly chilling.

Coheed begin their albums often with these 'intro tracks'. And although "Pretelethal" is a lot more developed than many of the previous intros, even Ascension's "The Hollow", it does serve the purpose of introducing the strike track. Coheed really know how to nail second songs. Build up tension in the intro then boom. Epic. If you don't have a huge grin on your face by the time "Sentry the Defiant" comes in, you're not listening properly. The chorus is one of Coheed's best, with some fantastic guitar work underneath. Over the course of the two parts, Sentry is second only to the great Domino The Destitute, which is now my favourite C&C song.

Although I still consider Ascension to be the stronger of the two, Descension has no weaker tracks. Coheed stabbed at something different with "Holly Wood The Cracked", which really didn't do much for me, and I find myself skipping it often, Descensions stick out of the ordinary is "Number City", while equally out there and ridiculous as Holly Wood, it's actually quite fun in the right mood. "The Hard Sell" appears to be a more open song lyrically, which Coheed have been allowed to do with this prequels saga, and opens with an 80's like vibe. Claudio is really on top voice with his chorus melodies, which are always a selling point for me. When I first heard Coheed, his 'odd' vocal delivery disguised some of the great lines, but once you get used to his very theatrical overpronunciation, some of the choruses are brilliantly catchy.

"Gravity's Union" is the longest song on the album, and although 7 minutes is hardly long for prog standards, it really does feel a little more epic than most of the album, the same feeling that dominated the glorious Domino The Destitute, but not quite as awesome. Still a wonderful song, and definitely one of my favourites. My other favourite is "Away We Go", a softer song with a wonderful chorus. Coheed seem to be touching on more personal topics in these albums, with this song being the upbeat counterpart to the beautiful but heart-wrenching "Subtraction" from Ascension. I always will take simplistic beauty over complex meandering, and here C&C hit the nail on the head with a wonderfully heart-felt song.

The album drops with the next two songs, "Iron Fist" and "Dark Side of Me", but they aren't really bad songs at all, they're just nothing special. They're nowhere near as bad as "Holly Wood The Cracked" or even "Vic The Butcher" from Ascension, but they really bring nothing extra to the party. "2's My Favourite 1", despite having a stupid title, is a great ending. "Subtraction" was an incredible finish to Ascension, and although this song doesn't quite feel like an epic movie finish, it's a nice send-off, and is one of the better songs on the album.

To be honest, this album is hardly new territory for C&C, but I feel them opening up to a more mainstream approach to melody, while still keeping their post-hardcore ("Gravity's Union") and prog (Number City outro) aspects that gained them popularity. They are still essentially alone in this field, and with TMV out of the picture and Muse turning electronic, they now hold the crown for the "new prog" field of bands. I still prefer Ascension to this, but Descension is way more consistent, and over time I think it may grow on me. I hear that Mark Wahlberg and co are hoping to bring this to the big screen, so we can only hope this means more mainstream traffic to the prog world, as Coheed really seem to be leading that front

Recommend this to fans of their earlier stuff, but for new fans, these two albums are definitely the best entry points, but you will need to get used to Claudio's vocal delivery before fully appreciating it.

Originally posted at my facebook page/blog https://www.facebook.com/neoprogisbestprog

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