Media Review

Coheed And Cambria

Good Apollo, I'm Burning Star IV, Volume Two: No World For Tomorrow (CD)

Columbia
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Overall Rating:

8.0

Music Quality: 8.0

Production: 9.0

Originality: 8.0

Since the release of 2002's "The Second Stage Turbine Blade," Claudio Sanchez, the brains behind the metal-tastic prog rock ‘n’ roll conglomeration of Coheed & Cambria, has single-handedly opened the eyes and ears of a generation of young people. The band has recruited a faithful following that has exponentially expanded since Columbia Records and MTV2 introduced the New York-based sci-fi rockers to more main stream music listeners in 2005. And now they're back again with their fourth record, which has already debuted at #6 on Billboard’s Top 200 charts during its first week. Although Coheed’s first two records, “The Second Stage Turbine Blade” and “In Keeping Secrets of Silent Earth: 3” will forever remain in a specially carved-out place in my heart, the band has since head out in a new and more accessible direction. And I can finally say that I’m okay with that.

As in any relationship, it did take me a little while to deal with the changes the band has made. My reaction upon hearing 2005’s “From Fear Through The Eyes of Madness” was along the lines of being hit by a brick - followed by denial, followed by the slow and burning realization that my all-time favorite band would never again be the same. Not only had they joined a major label and gone for a glossy over-produced sound, they had taken their love for Led Zeppelin, 70’s rock and 80s metal to the next level - a level that I wasn’t necessarily ready to move on to. There was just something too warm and insulated about the tone of the guitars and excessive solos that left me feeling a little hollow inside. I missed that raw edge and less-than-perfect recording from “SSTB” and “IKKSE:3,” because it gave the music real feeling of abrasiveness and depth. I missed the grittiness of the past.

But unlike that day during the Fall of 2005, I must say that this time around, I was much more prepared and ready to accept the direction that the new album would take. Most importantly, I was ready to simply enjoy “Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow,” rather than pick it apart just because it no longer harkens the exact sound of the first two full-lengths. The fact of the matter is that this is Claudio Sanchez’s Keywork. And as much I want to have some say in the music the band writes - it’s Sanchez who gets to call the shots as he plays the Writer/God. After all, it just doesn’t make sense for a band to write the same album over again - it’s better to keep on pushing boundaries.

And to my surprise, Sanchez and company have found a way to unite the best of both worlds on this new album. “No World For Tomorrow” has captured some bite from the past and combined it with the seamless production of Nick Raskulinecz (Foo Fighters, Rush, Velvet Revolver), tracks that are both forceful and poppy, and a multitude of complicated guitar solos that showcase both Sanchez’s and Travis Stever’s skills as they battle it out - making this album somewhat of a compromise. A common thread existing to draw the four albums together, and to ensure the perfect closure to the Kilgannon saga of lust, love, family and the impending doom of the apocalypse - although technically, it’s the the second half of the fourth part of the series (complicated!) - but it looks like there will be a prequel to look forward to as well.

Overall, “No World For Tomorrow” is an excellent fourth effort by the band - definitely much stronger than “Through The Eyes of Madness” - although in my book, still unable to compete with “SSTB” and “IKSSE:3.” But I’m fine with that. It’s an valiant record chronicling an epic tale; a mix of massive 70s rock riffs and powerful poppy choruses. It may give off a grandiose impression, but in Coheed’s case - it works.

Claudio has described the writing process of this record as a much more introverted experience than “FFTTEOM.” The band as a whole was dealing with some pretty heavy situations while working on “No World For Tomorrow” - what with the band lineup controversy, canceling a European tour, thoughts about breaking-up and the passing of Sanchez’s aunt, with whom the band was very close to. It was all of these difficult personal emotions that stirred up the explosive energy and elements of optimism that exist within the album. “In writing the lyrics, I found certain lines that, instead of being so on the dark side of things, almost felt very hopeful,” Sanchez has remarked in an interview with MTV.

“No World For Tomorrow”’s opening number is a simple acoustic ballad. The short but sweet song, titled “The Reaping,” is a good lead off into the monstrous, guitar-slinging title track to follow. “No World For Tomorrow” is the album’s heavy-hitting battle cry, kicking off the record in signature Coheed style by fusing together colossal melodies and layers of technical guitar work. The song yields a sense of drastic urgency - but at the same time manages to incorporate a sense of nostalgia with some familiar melodies and lyrics from past records. While the Coheed has recently welcomed ex-Dillinger Escape Plan drummer, Chris Pennie, into the family, the band was lucky enough to have resident Foo Fighter, Taylor Hawkins, drum for the record. Hawkins’ drumming technique is fantastic on the title track and throughout the entire record. He’s able to lead the band on the right course with his meticulous beats while simultaneously allowing room for Sanchez, Stever and Michael Todd to experiment.

Sanchez’s voice is oddly strained during the following song, “The Hound (of Blood and Rank)” - as if he’s constantly gasping for breath in a room full of carbon dioxide. Although I could do without the slightly cheesy “Come on! come on! come on! You’ve gotta give it to me” part of the chorus, the song is saved by the undeniably catchy melodies that unroll right after. Coheed has mastered the art of turning an intricate five-minute-long track into a song with the utmost pop appeal. Me, of all people - with my two-second attention span - can listen for hours to the band’s never-ending musical labyrinths. They manage to keep “The Hound” flowing, not once allowing me to wonder when the next track should start.

The following “Feathers,” is a fuzzy and inviting lower-tempo track that flows like the breeze hitting my back on a warm summer day. I might as well be chilling out on the back porch that Sanchez describes in the song - rocking on a porch-swing with a glass of lemonade in hand, reminiscing about good times from the past. Surprisingly, the chorus of “Feathers” recalls a slowed-down version Fall Out Boy’s "From Under The Cork Tree" hit, “Sugar, We’re Going Down” - as Sanchez passionately pipes, “Right now, hide your feathers on the back porch baby, he’s coming home for you- you’ve been such a liar.” This isn’t glaringly obvious, but for a good while I sat scratching my head in wonder of what artist the bouncy song reminded me of.

The album’s first single, “The Running Free,” packs a powerful punch in the same way as “A Favor House Atlantic” from “IKSSE:3.” The addictive anthem was unveiled in live form to many of you who attended this past summer’s Vans’ Warped Tour. The perfect choice for a single, “The Running Free” encapsulates the many sides of Coheed into a tightly-knit, hard-rockin’ track with undulating guitar riffs, foot tapping beats and Sanchez’s vehement vocals. It’s definitely one of the strongest songs on the album.

The record takes a turn as “Mother Superior” opens with steady acoustic strumming, and Sanchez’s once again bizarre vocals (there’s just something about the way he pronounces “little baby,” which makes me laugh every time). Like other tracks, the song - especially at the beginning - calls attention to the band’s fondness for Led Zeppelin (as it sounds similar to “Stairway To Heaven”). It’s evident that Coheed and Cambria are heavily influenced by them, as well as Pink Floyd, Rush and Iron Maiden, among other groups of the 70s and 80s - and they’ve never denied this distinction. One might argue that they tend to borrow too much from these bands - but at the same time, Coheed bring so much else to the table with their unique blend of emo meets 70s & 80s prog rock and metal meets pop meets philharmonic orchestra - hell, it’s like they’ve practically created their own genre, in addition to their own universe.

“Gravemakers and Gunslingers” is another high-powered track and one of the harder songs on the album, complete with crazy guitar solos, familiar lyrics: “I don’t wanna live no more, go on and pull that trigger,” and a gigantic chorus - but it’s followed by probably the weakest track on the album, “Justice In Murder,” which is all over the place and not nearly as memorable.

At this point on the record, a transition is made into the five part “The End Complete.” “I: The Fall of House Atlantic” is simply an instrumental interlude that builds up into another one of my favorite tracks, “II: Radio Bye Bye” - which recalls the similar boundless energy of “Ten Speed (of God’s Blood and Burial)” from “FFTTEOM.” “III: The End Complete” is one of the few darker tracks that brings to mind the blistering force of The Velorium Camper songs from “IKSSE:3.” The borderline eight minute song twists and turns as it bridges a multitude of transitions, while never losing steam. It takes a dramatic turn at the end with haunting backing vocals and a technical drum fill by Hawkins, before gracefully fading out to the drifting melodies of Sanchez’s soft, whispery vocals. “IV: The Road And The Damned” is a high school slow-dance worthy song which signifies that the end is near, while the final track, “V: On The Brink,” unlike its counterparts, is much more bluesy and jazz-influenced (I kept getting flashes of the opening credits of the anime classic, “Cowboy Bebop”: when a rain-soaked Spiegel crushes out his cigarette and drops a red rose in a puddle, right after he's kicked some ass). It’s an unexpected ending, but nonetheless one that will leave you begging for more. The song builds up into a tumultuous whirlwind of commotion, screaming and the repeated outcry of “Hail! Hail! Hail!” - before cutting back into some jazzy piano and guitar melodies as the curtain falls down upon Sanchez’s universe.

So there we have it: the end of an era.

Coheed and Cambria have always set the bar high, but they’re able to blow on past it with their epic storytelling and musical talent. What I enjoy most about Coheed’s music is its ability to impact the lives of those who listen - something they’ve once again achieved with this fourth jigsaw piece of the dramatic sci-fi puzzle. Coheed’s music yields a certain magnetic force that can make anyone feel as though they’re a truly part of their world.

reviewed by Carolyn Brennan