Coheed and Cambria - No World For Tomorrow
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Free Music Notes for No World For Tomorrow
Free Music Review: The terrible truth: Gen. Z likes C&C! A lot
Hit: 5 Stars
Coheed and Cambria are an easy band to mock (I've done more than a little of that myself) but there is a surprising lot to enjoy in them for the classic metal fan who is willing to listen, and particularly on "No World For Tomorrow." While their debut was straight up post-hardcore in the vein of At the Drive-In (though with more flair to the musicianship), the old-school metal and prog elements become increasingly substantial on their next few albums, and are most prominent here. At the same time, "No World For Tomorrow" is their most accessible album, despite the prog elements. This is for the best: Coheed fanboys love to emphasize the prog elements, but anyone versed in prog or tech metal knows this is pretty pedestrian stuff on that front. Unlike many proggy bands, however, Coheed has a keen sense of melody, which counts for a lot.
Despite the ever more elaborate production and stronger emphasis on leadwork, the most notable growth on Coheed's part is in Sanchez's vocals. His previously shrill, oft-grating vox are almost entirely gone, replaced with heavily produced, oft-harmonized highly melodic lines. (They even manage to make him sound aggressive at times, a remarkable bit of studio magic, no doubt.) Sanchez's stronger vox are best emphasized on the very consistent and more straight forward opening half of "No World For Tomorrow." The title track is perhaps the best, most metallic song of their career, with impressively intricate guitarwork and a whole series of vocal hooks, while "Gravemakers & Gunslingers" is similarly effective, but in a less soaring, more driving and aggressive style. Conversely, "Feathers" and "The Running Free" are shamelessly commercial and almost cloyingly airy and melodic, but the final effect is irresistible. That said, "Mother Superior" is probably the standout track. Ballads were never Coheed's strong point, and this one has every hard rock ballad cliché in the book, but the simple, flowing vocal melodies are terrific and carry it in spite of the flawed setting. Moreover, it has a charmingly epic feel, as does all the best material here.
Like on "Good Apollo I", "No World For Tomorrow" ends with an extended song cycle. These tracks cover pretty much all of the same ground heard earlier, with the hooky "Radio Bye Bye" and the epic, varied "The End Complete" being the best. On the downside, it loses a little energy as it moves on with the incredibly syrupy "The Road and the Damned" and the somewhat meandering, but still enjoyable, "On the Brink." The final third is generally solid, but the prog elements are, again, sometimes a little pedestrian. They never really forget the melodic angle, but the songwriting isn't quite as strong.
This review seems a bit overly critical for a 5 star rating. I guess there isn't a lot to say: this is mostly just very catchy, enjoyable 80s style metal with enough prog elements to give it some depth. Hopefully Coheed and Cambria will continue to move this direction and keep making somewhat silly, but very enjoyable music.
Free Music Review: Un-Frickin-Believable!
Hit: 5 Stars
I'd heard of Coheed & Cambria forsome time, but never made a point of listening to them. Recently, something told me to give them a try. I purchased "No World For Tomorrow" and was promptly and completely blown away.
20-odd years ago, I discovered Rush, which changed my life & led to a pretty productive music career. I haven't been so affected by a band or album since I got Moving Pictures as a school kid. While I completely disagree with any comparisons between C&C and Rush, I think C&C has captured the magical perfect balance: Prog chops, soaring melodic vocals, catchy pop hooks, chunky guitar riffs, and superb song crafting. As an engineer myself, the production on NWFT is nothing short of superb. Other reviews that call it "under-produced" obviously come from people who don't actually know what that means. The production is slick and glossy, the vocals are just beautiful, I could go on and on.
Taylor Hawkins, guesting on drums, does a phenomenal job of infusing the Foo Fighters power pop into C&C's ambitious songwriting. Chris Pennie should give them a different feel, but I'm looking forward to hearing it.
For what it is worth, "Feathers" may be one of the best pop/rock songs I've ever heard. Driving, hooky as all hell, and gorgeous vox highlight this track. It should've been a monster single. I am so damned jealous of Claudio Sanchez for crafting such magnificent songs...
There really is no bad track on this album. I was so impressed that I immediately went out & bought their previous album, and will soon own all of them. I've seen where the punk/emo crowd laments that they "sold out" by becoming proficient at crafting songs & utilizing great production. Oh, let's not forget exhibiting actual technical ability. May not play well to the skate crowd, but for the people who appreciate serious musicians, this band (and this album) kick some serious butt. Buy it now!
I don't think I'm overstating it when I say that Coheed & Cambria may well be the most important band of the 21st century thus far. They've taken a generation of emo/punk/"I'm not real sure how to play this instrument, so I'm edgy and cool" -listening kids, and shown them how powerful true musicianship can be. Being able to play your instrument and actually hit the vocal notes counts, and Coheed & Cambria deliver the goods.
C&C make me look forward to the future of rock music, because there is new blood carrying the standard of true musicianship forward.
Free Music Review: Coheed Come Full Circle
Hit: 5 Stars
Recorded during the most turbulent time in the band's history, Coheed and Cambria's fourth album and closing chapter in the on-going "Amory Wars" series, "Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow," finds original drummer Josh Eppard being replaced by Foo Fighters skinsman Taylor Hawkins (filling in for ex-Dillinger Escape Plan's Chris Pennie, who had to sit out the album's sessions for legal reasons) following a split with the original rhythm section that also saw bassist Michael Todd leave and then re-enter the band in less than a year's time. Most bands crumble under such conditions, but miraculously, Coheed and Cambria marches on.
Thankfully, the melodrama seems to have rubbed off on band mastermind Claudio Sanchez, who puts in perhaps his most intense and inspired vocal performance to date. Songs like "Gravemakers and Gunslingers" as well as the title track are met with a sense of urgency never before heard on a Coheed and Cambria album. There is an unmistakably jaded tone in Claudio's voice that serves the narrative aspect of the songs well enough, but also gives a brief glimpse into the problems the band was facing as it commenced the making of the album. It also helps having the energy of a new drummer, both in Chris Pennie (who wrote the drum parts for the album) and Hawkins, who no doubt brought his A-game and likely influenced the band to step up their game a bit as well.
All is well in Coheed and Cambria-land, though, as "No World or Tomorrow" brings proper closure to the story while pulling out all of the creative stops. The band's penchant for sprawling epics has yet to be toned down, as evidenced by the five-part "The End Complete" which closes the album and the story with a bang, culminating in a trippy solo that is reminiscent of elder prog-rock heroes Pink Floyd. There's plenty of popped-up ditties to go around, too, in the form of "The Running Free" and "Feathers," while the slightly stripped-down "Mother Superior" finds Sanchez at his most human and vulnerable, which is precisely what makes "No World for Tomorrow" such an affair to remember. For the first time on a Coheed album, it's not just the weight of the fictional saga carrying the album, but also the personal trials and tribulations of the band, which not only makes for an intense album, but also proves that the band has enough juice to justify its existence long after its story has been told. Here's looking to Coheed and Cambria's tomorrow.
Free Music Review: The End Complete
Hit: 5 Stars
I was first introduced to Coheed and Cambria when I heard "A Favorhouse Atlantic" on the radio. However, it wasn't until Good Apollo I'm Burning Star IV, Volume 1 that I gave into the temptation and gave them an honest listen. Since then, I haven't looked back. Co&Ca has been an almost permanent fixture in my car and on my computer ever since that CD. Then, I started digging deeper and realized that the members of Co&Ca were telling a story; a crazy, sci-fi rock opera that would ultimately span five CDs and contained more violence, melodrama, backstabbing and pain than any soap opera out there.
But, instead of turning me away, it drew me in and made me actively listen, trying to piece the puzzle together. Volume 1 also marked a huge change for the story as it introduced The Writer and brought the earlier themes of sci-fi to life. It made what was being told more human and introduced the Writer's own failings and insecurities. It was a defining moment for the band. Now, we have Volume 2: No World for Tomorrow and it promises to close shut the story of Coheed, Cambria, Claudio and the whole Kilganon family before the first chapter in the story is released.
Volume 2 is Co&Ca's masterpiece. It draws inspiration from all three of the previous albums, warps them and presents a unified front that is the culmination of everything that came before it. The songs effortlessly move from unabashed rock to power ballads to pop, all cemented with Claudio's soaring, albeit polarizing, voice. Some of the songs here standout as the absolute best of Co&Ca. In particular, "Mother Superior," "The End Complete" and "The Road and the Damned" are probably my favorite songs created by Co&Ca. What surprised me was how I could hear some of their earlier work pop out in the songs. A scream here, or a refrain, a lyric or the ending of the CD. It did what a good multi-part story should do and come full circle.
I could go through and list my feelings toward each track, but I won't. If you are new to Coheed and Cambria, this is easily their most accessible. But it's also one of their best. I know some fans haven't been really into Co&Ca since their last album. Their sound has changed. For me, it's changed for the better and Volume 2 equally takes from their previous album and their roots to create what is arguably their best album yet. Give them a try, if you're new. It's a wild journey.
Free Music Review: Pretty Epic
Hit: 5 Stars
As some of you may or may not know, Coheed and Cambria have had some hard times recently. A death in the Sanchez family and the departure of the rythm section brought up the question of the band's continuance. Luckily the band came out of their indefinite hiatus (if it can truley be called so) with this magnificent album. With Mic Todd (bassist) back in the band just in time for recording the album and the addtion of Taylor Hawkins on drums (I'm not sure, but I believe Chris Pennie did almost no drumming on the record) Coheed has once again managed to create a classic.
At first I was worried about the album. Not wanting to become dissappointed by my favorite band, I approached the idea of an album sans half the band a little tentitavely. I was assuaged, however, by the album's first single, The Running Free. WHile it did certainly have a different sound, it was still very Coheed-esque, complete with Claudio's high-pitched vocals and some kickass guitar (lazer effects are awesome).
When I got the full album, though, it blew my mind. It took me a few listens to really appreciate it but I kow conisder it one of my favorite albums.
My favorite tracks are The Reaping, No World For Tommorrow (in my opinion the heaviest song on the album), the Running Free, Mother Superior (complete with orchestral instrumentation), Gravemakers and Gunslingers, and the End Complete (which has a righteous solo). However, these are my only absolute favorites. This is, I admit, the only Coheed album where I would not skip some songs.
Although it is part two in the Good Apollo epic, its sound differs greatly from that of Volume 1. At times it reminds me more of IKKS:3 more than Good Apollo 1. Its more poppy, even though some of the songs are more melancholy. Lyrically and vocally, this is some of Claudio's best work. He really gets into the character at times and totally pulls off all his regular high notes. The guitars are also a lot more prominent, with guitar solos coming out the wazoo (at least, compared to other Coheed albums). In fact the only real qualm I have about this album is that the bass is less predominant than it was in previous albums and there are no outstanding bass or drum parts (its a shame that Josh Eppard wasn't able to return as well).
Be that as it may this album is a must for Coheed fans and rock fans. Get it now.