 "What did I do to deserve all of this album?" | 2009-09-03 |
| - Reviewed By User: A6IUY3V1YVVP5 |
| I don't believe this to be Coheed's best album, but the album gods shined their benevolence upon us by having Coheed put this one out. Everything but "A Favor House Atlantic" is very, very good. This album was definitely their first real attempt at some Progressive Rock, even though some of the first album lightly touched some Prog, and it works very well. Key tracks for the Prog kids: "In Keeping Secrets of Silent Earth: 3", "The Crowing", "The Light & The Glass", and the ridiculously epic "21:13" (the hidden track [it contains 5 different time signatures: 4/4, 2/4, 9/8, 15/16, and 6/8]). Get it because it's well worth getting. |
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| "A lone 21st Century Gem" | 2009-06-24 |
| - Reviewed By User: A3HVGOT8NL9RG6 |
First of all, let me start by saying, for the most part I despise music from this decade. I'm only 31, but cannot stand it, I listen to mostly classic rock, and am a HUGE Pink Floyd fan.
I find Co & Ca similar to Floyd in their lyrics, which are dark, but well thought out and potentially meaningful (Even though they are based on the story).
I am also a huge fan of the concept album, so here you go. People who think this is Emo don't know what that drivel is. He has a different voice, does that make it bad? Roger Waters has a different voice, people still accept it.
I'm not saying their Floyd, obviously, but they are the only post 2000 band that I haven't just shook my head at. |
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| "Moving and Nearly EPIC" | 2009-06-19 |
| - Reviewed By User: A3DQDILRL74K37 |
"Coheed & Cambria" cannot easily be classified. They are a mixture of many genres- rock, metal, alternative, classical (yes), and punk. There is screaming in the background, poppy vocals and peppy tones- all mixed well together to carry out over epic songs.
It is very easy to get "lost" in this music. To listen and get transported to wherever it is that they are singing and playing from. In one song: "In Keeping Secrets of Silent Earth: 3", it is easy to picture the war that they are singing about: "Man your battle stations! we'll have you dead pretty soon... Man your battle stations! we'll have you home pretty soon..."
It is very easy to just... flow with the music. To get wrapped up in it, letting it course through your veins and basically hypnotize you. "In Keeping Secrets" is definitely my favorite song on this album... but every single song is fan-f&ing-tastic! It is an amazing album. Unlike any other!
If you like punk music, but also like rock and metal, this album and this band is the perfect fit for you! |
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 "Strained assuredness " | 2009-04-14 |
| - Reviewed By User: A8IFUOL8S9BZC |
| There was definitely something appealing inherent in this ambitious group's second prog-rock release that made you want to familiarize yourself with the material. Predicated upon taught guitar lines and gripping vocals, and C&C feel every ounce like that punk-prog medium found between At the Drive In and Mars Volta. But too often, melodies tend to drift off into power chord oblivion, when all too often more energy seems dedicated toward the rock elements over progressive. |
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 "Imperfect, but highly enjoyable" | 2009-04-13 |
| - Reviewed By otherkcin |
Coheed and Cambria's "In Keeping Secrets of Silent Earth: 3" is one of the more odd commercial breakout albums in recent memory. While "The Second Stage Turbine Blade" wasn't particularly accessible, it at least had a certain internal uniformity that guaranteed an audience. This, however, is a peculiar mix of prog, pop-punk and metal with a bit of glam-rock and classic rock added in to boot. That it's a somewhat overwrought sci-fi oriented concept album doesn't seem likely to help its chances either. (Sure, the debut was too, but not so obviously.) Still, in spite of the strangeness, here Coheed developed a keen pop sense that earned them an audience of nerds all across the country, and will likely allow them to continue in this vein for who knows how long. This is, however, the first work in their fully developed style, and thus isn't as polished as their next two albums would be. However, it has a certain freshness and variety that makes it perhaps their most intriguing album, if not necessarily their best.
After the brief intro, Coheed break into the 8+ minute title track, a song that encapsulates many of the advances on this album: soaring, metal-tinged vocals, meatier riffing and a rather theatrical tone. Conversely, the singles "Blood Red Summer" and "A Favor House Atlantic," along with "Three Evils" emphasize a more modern, pop-punk angle accentuated by Sanchez's almost uncomfortably feminine vocals. (This can create a strange tone considering the subject matter: "Three Evils," for example, is likely the peppiest song ever written about torture.) The album leaps between these extremes while including a somewhat proggy sense of musicianship and penchant for unconventional structures. These styles sometimes sit uncomfortably side by side, as in "Cuts Marked in the March of Men" (which has some nice leadwork) and the epic, varied "The Crowing" which leaps from crunchy and frantic metal riffing to a catchy, sing along close. These styles may not always gel, but Coheed's strong melodic sense and capable, though not flashy, musicianship keep it interesting at all times. (Well, the pop-punkish stuff is sometimes too sugary for my taste, but it never lapses this way for too long) Moreover, the album still manages to surprise as it progresses, particularly in the three-part "The Camper Velorium," which utilizes a "Ziggy Stardust" -era Bowie sense of melody while switching tones and guitar styles wildly.
On the downside, the album stumbles a bit at the end. After the excellent "The Camper Velorium" tracks we have the ho-hum "A Favor House Atlantic" and the epic (pseudo) closer "The Light & The Glass," a lengthy ballad which doesn't really come alive until the five minute mark. Finally, the lengthy Rush tribute "2113" is an entertaining unlisted track with some of their more varied musicianship, but it's clearly something of a throwaway and doesn't really add to the album as a whole, despite being enjoyable in and of itself.
Still, these are minor quibbles, and Coheed's central strengths remain constant: pop sense along with enough progressive tendencies to keep it interesting. This is nerd rock, no doubt, but nerd rock with a sense of fun. And hell, I'm a nerd either way. Might as well enjoy the music. |
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| "Man Your Own Jackhammer!" | 2008-12-12 |
| - Reviewed By User: A30PP4LXLBHO9S |
Let me preface by saying that I've been a huge fan of Coheed and Cambria since their days of playing at Olives in Nyack, NY and immediately post-Shabutie, so my review is biased because they are my favorite band. People have compared Claudio Sanchez's vocals to that of Geddy Lee from Rush, which I can understand...and sometimes hear (I like to think that it makes him distinctive from the other artists out today), however, the music is more along the lines of a slightly subdued Iron Maiden in my opinion....not to mention that they have written a storyline to accompany the albums in the form of a graphic novel. Their talent is something undeniable, even my boyfriend, who doesn't really like them, can't say that these guys can't play.
But anyway, thank you for letting me get that off my chest! This album is the sophomore followup to "The Second Stage Turbine Blade", which is quite different. SSTB is much more raw and young sounding, with alot more screaming sequences. For Equal Vision records, it fit right into the mold. IKSOSE3 has many more melodic and prog-rock tones. Some songs are quite long, ranging from 6-8 minutes apiece, so be prepared to be engulfed in the music. The first song (2nd track) is the title track of the album, and you can get pumped up listening to the screaming line of "Man your own Jackhammer!" The intricate drum beats and guitar riffs are not to be ignored, Josh Eppard plays some incredible syncopation here.
The rest of the album flows nicely with another great one called "The Crowing", which is quite brooding and powerful....and then there are The Camper Velorium songs (3 of them), which goes from an 80's sounding "Faint of Hearts", to the anti-ballad "Backend of Forever", to the almost-metal "Al the Killer" which sounds like a duet with Satan and is ferocious.
There are two of the radio friendly singles on this album: "A Favor House Atlantic", and "Blood Red Summer", which I think are the poppier songs on the album.
The album ends with "The Light and the Glass", which is like an eerie lullaby that allows all hell to break loose at the end.
Of course the album is filled with a lot of "whoaaa-ohsss" which is signature of the band at this point, but the sing-along quality is quite high and I think it's a powerful album with catchy melodies and intricate music. I really think this album is one of their best, it's a great follow-up to their first album. |
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