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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.





Why this artist must be listed in www.progarchives.com :
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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The Afterman: DescensionThe Afterman: Descension
Hundred Handed Inc 2013
Audio CD$5.50
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No World For TomorrowNo World For Tomorrow
COLUMBIA 2007
Audio CD$7.35
$1.03 (used)
Year of the Black RainbowYear of the Black Rainbow
Sony 2010
Audio CD$7.36
$4.89 (used)
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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)

3.26 | 82 ratings
The Second Stage Turbine Blade
2002
3.73 | 111 ratings
In Keeping Secrets of Silent Earth: 3
2003
3.65 | 131 ratings
Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness
2005
3.72 | 130 ratings
Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow
2007
3.23 | 83 ratings
Year of the Black Rainbow
2010
3.85 | 62 ratings
The Afterman: Ascension
2012
3.79 | 69 ratings
The Afterman: Descension
2013

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

4.33 | 3 ratings
The Afterman: Live
2013

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

3.75 | 8 ratings
Live at the Starland Ballroom
2005
4.00 | 4 ratings
The Last Supper
2006
4.54 | 17 ratings
Neverender: Children of the Fence Edition
2009

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

4.60 | 11 ratings
Neverender: Children Of The Fence Edition
2009

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

3.40 | 5 ratings
Live at La Zona Rosa
2004
3.09 | 4 ratings
Neverender 12%
2009

COHEED AND CAMBRIA Reviews


Showing last 10 reviews only
 The Second Stage Turbine Blade by COHEED AND CAMBRIA album cover Studio Album, 2002
3.26 | 82 ratings

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The Second Stage Turbine Blade
Coheed And Cambria Crossover Prog

Review by siLLy puPPy

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 :(

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 The Afterman: Ascension by COHEED AND CAMBRIA album cover Studio Album, 2012
3.85 | 62 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.

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 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 | 131 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.

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 The Afterman: Descension by COHEED AND CAMBRIA album cover Studio Album, 2013
3.79 | 69 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

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 Year of the Black Rainbow by COHEED AND CAMBRIA album cover Studio Album, 2010
3.23 | 83 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.

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 The Afterman: Descension by COHEED AND CAMBRIA album cover Studio Album, 2013
3.79 | 69 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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 The Afterman: Ascension by COHEED AND CAMBRIA album cover Studio Album, 2012
3.85 | 62 ratings

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The Afterman: Ascension
Coheed And Cambria Crossover Prog

Review by arcane-beautiful

5 stars Coheed is back...with a new agenda.

Ok, I think everyone should know that I'm a massive fan of this band. From being in bands that basically where cover bands of this band and buying everything they own, yea, I have known them for a long time.

Now, the build up to this album was rather secretive, and its interesting because usually Coheed treat a new album like the second coming of Christ. It might be due to the fact these guys are now signed to there own label, and not to a major one anymore. So really, buying this album is buying each member of the band a cheap KFC. So you should buy it out of charity really.

Now on every album, Coheed do something different, and as usual, they can be notably seen. From the mixed reviews of Year Of The Black Rainbow from critics and fans alike, Coheed decided to ditch the weird production and dark Nine Inch Nails sounding atmospheres, and go back to songwriting, and it worked like a treat on this album.

The songwriting has actually become a lot more compact, and a maturer sound is really appearing on the album. The songs sound more contemporary at times and more to the point. The length of the album also helps the feeling of being "compact". It's over in heartbeat, and it feels like you just listened to a great string of songs, in order. Usually Coheed albums are a bit longer, and more filler moments can be heard, but this format really works well for the band, and the sequel to this album will also match the feelings felt on this album.

Now concept wise, the band have taken a different approach. Instead of one linear narrative, it focuses on different events and character profiles, as the protagonist Sirius Armory travels back to his past and sees the life through different characters eyes. An interesting idea for a concept, and a great idea to cover an entire double album (in fact, it reminds me a little bit of Ayreon's Flight Of The Navigator double album)

Musically, the band have changed a bit, especially with a new line up. Josh's return to the band has brought back the more rockier drum sound, and new bassist Zach Cooper is just an amazing bassist, who gives the album a certain warmness. Claudio's voice is also better than ever too. Also, I suggest seeing the band live (as I did in November) for an amazing experience. This band will always be dear to my heart.

1. The Hollow - An amazing intro to the album. The atmospheric keyboards, the creepy narration. Perfect way to keep a listener to keep on listening and wait for what's happening next. 10/10

2. Key Entity Extraction I: Domino The Destitute - Ok, I have to admit. When this song was leaked, I was a bit obsessed with it. Out of all the Coheed epics, this is probably my favourite. Also, out of all their longer songs, this seems to be the most compact one. Nothing really gets boring, every section is as enjoyable and interesting as the next, and a lot of climaxes will be heard throughout. Also, it is probably one of Claudio's best lyrical moments. This definitely goes on the top of my list of favourite Coheed songs. 10/10

3. The Afterman ? One of Coheed's more softer moments. A very beautiful yet tragic song. The strings on this song are nice touch as well. 10/10

4. Mothers Of Men - One of my least favorite songs on the album, but when considering Coheed, that's like saying my least favourite cake. One of the more rhythmical songs on the album, with a very interesting arrangement throughout. 9/10

5. Goodnight, Fair Lady - A pop song about date rape. Only Coheed could get away with this. The date rape does add a touch of dark humour to the song, but other than that, its incredibly joyous and catchy. 10/10

6. Key Entity Extraction II: Holly Wood The Cracked - This would have been one of the shining moments on this album, the only problem I have with it is that it's too short (usually songs need to be cut down for some bands, Coheed need to make them longer). A more darker side to Coheed, and a flashback to some of the darker material on Year Of The Black Rainbow. One of the albums best chorus' as well. 9/10

7. Key Entity Extraction III: Vic The Butcher - The albums most rocking song. A great sing along chorus and some really kick ass fist in the air moments. This will run around your head through the next few days. 9/10

8. Key Entity Extraction IV: Evagria the Faithful - Probably one of the nicest Coheed softer moments. A very melodic tinged song with a very powerful chorus. I'm glad Josh is back as well, because the drumming on this song really is top notch and some of his best. 10/10

9. Subtraction - An odd way to end off an album, but rather pretty and nice. The arrangement I think is great too, especially the use of keyboards. I have heard that this was supposed to be a Prize Fighter Inferno song, so you can expect a few electronic glitches and soft keys. 9/10

CONCLUSION: This may not be my favourite Coheed album, but after thinking it through, this may be the album that I would give to someone if they wanted to get into Coheed, because it really has everything, and a little bit more. The band have changed a lot over the years, but there's eve stabs back at there older sounds, and even more on the 2nd part of this album (which I will review at some point as well). The shortness of the album also helps a lot more. A very compact little package. Also its Coheed, so expect a masterpiece of music and songwriting.

8.7/10

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 The Afterman: Ascension by COHEED AND CAMBRIA album cover Studio Album, 2012
3.85 | 62 ratings

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The Afterman: Ascension
Coheed And Cambria Crossover Prog

Review by bloodnarfer

3 stars I have been using prog archives for a long time to discover new music and I think a review from me has been long overdue. I am a huge Coheed and Cambria fan, having experienced them live in an intimate setting. However, I will try to rate this album objectively, from a Prog perspective. Thus ends my little disclaimer and begins the review.

In many ways Afterman is a return to form for Coheed. Gone is the overproduced and compressed sound we had in Black Rainbow. (Thankfully). And it is very reminiscent of some of their best work. But there are a three very large reasons why this album only gets a 3 star rating.

1. The album doesn't take them anywhere new. Coheed has changed their style through every album... not dramatically but in some small way for better or worse. Afterman does not really take them new places. Every song feels like a call back to a previous album. Hollywood the Cracked feels like a Black Rainbow song and Vic the Butcher feels like an In Keeping Secrets song, and Evagria feels like something from IV, and Subtraction is material straight up from Claudio's side project, Prize Fighter Inferno, and so on. While this approach was well-appreciated by many fans and myself, I still can't help feeling disappointed that they took the easy path and didn't give me any substantial change.

2. The Afterman is a double album but for some reason it has been split into two separately released parts. I'm not sure if this is for marketing reasons or what, but this is the same thing we saw with Pain of Salvation and the Road Salt saga. Just release the whole thing at once, I say. The album ending feels abrupt and the length short compared to their earlier work.

3. The All-Mother's voice. Ew. Sorry I just can't take this album seriously whenever it talks. And this album desperately wishes to be taken seriously.

Having said that, I enjoy each song on this album. For instance the first track, Domino, gives us a wow moment with the beginning guitar solo and slow build up. The first verse will grab you and get you ready for an excellent journey. Unfortunately, the song never really delivers on its promise. There are still great moments in it, but it is held back by a lack luster 'first chorus' and a couple dragging jam-sections with boxing dialogue in the background. Claudio's vocals are in good form here and the conclusion really pulls it together in an energetic and emotional ending. The other stand out track for me is Evagria, which feels more recycled than Domino, but still boasts great composition and enough variation to hold my attention.

In short this album gets 3 stars. A solid release for Coheed. Fans will be pleased with the new material that stays true to their style and personality. And those who are not fans could give Domino or Evagria a try. Good, but non-essential.

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 The Afterman: Ascension by COHEED AND CAMBRIA album cover Studio Album, 2012
3.85 | 62 ratings

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The Afterman: Ascension
Coheed And Cambria Crossover Prog

Review by My Dreaming Hill

4 stars Make no bones about it, I am fanatically in love with his band. I am truly crazy about them. I have been for a while now; tangentially since In Keeping Secrets.. and actively since Year of the Black Rainbow. Back in the IKSOSE: 3 days I was aware of them and liked their singles but I never made the effort to explore their discography. What can I say? I was a kid. They didn't sound like Slipknot or System of a Down so I couldn't be bothered. Later on though, once I'd reached the age of refinement and Black Rainbow came around I immediately found myself foaming at the mouth with need for their music. I gobbled up as much Coheed as I could in a very short period of time and thus began a long-standing love affair between me and my favorite band, not close.

Coming in at Year of the Black Rainbow, I wasn't as.. offended by it, as others may have been. I didn't hate anything about it and still don't. Of course, later on, once I'd explored the rest of their material, I gradually grew away from it. I went through a long period of never touching it. I still don't think it's a bad album; quite the contrary, there are a lot of aspects of it that are quite good. But it was different, just enough that most people (myself included) didn't really enjoy it as much as previous albums. Come The Year of the Mayans and Coheed announces a double album: The Afterman, parts Ascension in October and Descension in the following February. With that announcement came the debut single: "Domino the Destitute"

It didn't click with me immediately but when it did I was absolutely blown away.

It was almost like Year of the Black Rainbow never happened. Coheed and Cambria had gone all the way back to the Good Apollo sound, and it was great! It's very much a return to form for the band, as is the rest of the album. This can be attributed most likely to the return of Josh Eppard, the band's original drummer. The creative connection between Eppard (brother of 3 frontman Joey Eppard, if you didn't know already) and Claudio gave a lot of what gave The Second Stage Turbine Blade and In Keeping Secrets of Silent Earth: 3 their charm. Appropriately, that charm has returned with Josh.

This nearly eight minute gets the album off to a great start and takes one all the way back to In Keeping Secrets.. and the lengthy title-track that followed the short intro. The Afterman: Ascension does it the same way: the second track, "Domino", is preceded by a gentle, piano-led intro titled "The Hollow" the sets the stage for the rest of the album. The track feels like it would be at home on a Good Apollo; it doesn't feel quite as overproduced as a Black Rainbow follow-up would be. Indeed, the compressed and loud production of that album is gone and in it's place is the more enjoyable, palatable production of albums beforehand. While it's not quite as good as In Keeping Secrets... it's roughly the same sort of sound present on the Good Apollo duology. I found it to be an acceptable medium between the two extremes; as much as I enjoy their second effort, I also enjoy the hard rock leanings of later efforts. But not to the extent that Black Rainbow went.

Though this isn't always true of The Afterman. "Goodnight, Fair Lady" seems to break this rule with it's crisp guitar and vocal performance. It's much less of a hard rock epic than "Domino" or even "Mothers of Men" two tracks later. It feels much more modest and less bombastic, as their third effort did in general. This nod to previous sounds continues in the next track, "Key Entity Extraction II: Holly Wood the Cracked" which brings back the heavy guitar and loud production of Black Rainbow while invoking the hard rock leanings of Good Apollo Vol. II. These winks at the listener (remember what I said about short intro -> long progressive opener?) cannot be coincidences. I feel like The Afterman: Ascension is deliberately calling back to every trope that the band invoked before their 2010 release. The infections refrain of "Key Entity Extraction III: Vic the Butcher" is likely another one as it reminds one of the conclusion of "Three Evils (Embodied in Love and Shadow)".

Lyrically, the album's big set piece is the Key Entity Extraction suite, which tells four stories concerning the previous lives of the souls that Sirius Amory.. well, extracts from the Keywork (which a triangle-shaped collective of planets being held together by some hitherto unknown force ostensibly consisting of the souls of the deceased). In the interim, we peek into the life of his wife, Mary, who is grief-stricken with his absence but eventually finds someone else. Sirius meanwhile encounters two hostile entities, a mad woman obsessed with celebrities by the name of Holly Wood and a serial killer named Vic. Our protagonist unfortunately ends up badly injured by the end of the second encounter and has lost a lot of blood. The final extraction, "Evagria the Faithful", is primarily Sirius's apology to his wife and his acceptance of his pending death.

Ultimately, as expected, the lyrics stuck with me. Whether it be through infectiousness or simply the weight behind the words. Also as expected, there is a double-meaning behind each song. Whereas each Key Entity Extraction is a look into the life of an extracted quintessence, they also explore something on Claudio's mind. "Key Entity Extraction II: Holly Wood the Cracked", for instance, is also about a fan that had made videos (described by Claudio as 'bizarro') and sent them over Twitter to him and his wife. The first Extraction, "Domino the Destitute" is also Claudio's feelings toward former bassist Mic Todd and the unfortunate decisions he'd made as of late. Fans of Coheed and Cambria's lyrical aptitude will surely not be left wanting by this album by any means, as the principal lyricist has not yet begun to lose his touch.

The Afterman: Ascension is an excellent album. It's everything a Coheed and Cambria fan could ever want and a little more. It's a cheeky nod to previous material with a story all it's own, not to mention a complete abandonment of the deviation that Year of the Black Rainbow took. If you were a Coheed fan that was turned off by that album you can feel free to come back to the light side of the Force, for you've nothing to fear. You will not be disappointed.

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 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 | 131 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 Menswear
Prog Reviewer

4 stars Good Eye, Sniper.

By far my favorite between the two juggernauts albums baring the name Apollo, this one has lots of musical hooks like other records..only a few more. Coheed and Cambria's records are not very different from another, with the same (winning) recipe and the same sound.

Some songs like Welcome Home are monsters, real epics of Goliathesque weight. C&C are riffing like it's their last day on earth, mimicking some that Metallica gave us in their glory days. Of course, this is not for everybody; they starred in the Vans Warped Tour and the majority of their fans never heard of Gentle Giant or ELP. To me, their songs are a good relief when the greasyness of prog clogges my soul. I do enjoy their comic book attitude and I find refreshing to hear a young voice closer to Geddy Lee than Peter Gabriel. There's so much Marillion wannabees around, how about a change?

I love headbangin' to Ten Speed so much, why should I bother banish them because they achieved MTV success? Prog is the Revenge of Nerds right?

Well Claudio Sanchez is one major nerd.

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