Buy Coheed and Cambria - No World For Tomorrow
Those who have been hip to Coheed and Cambria over the course of what no comprises four albums know full well that this installment represents the conclusion of the ongoing saga of the characters for which the band is named. A four-part ongoing conceptual piece is largely unheard of in the world of music (it's something that lends itself to literature or film much easier), but C&C have persevered and put tremendous faith in their ardent fans, giving them the benefit of the doubt when it comes to their attention spans.
For the most part not much has changed in the world of the band, with the major exception of gaining a new drummer (and using Taylor Hawkins for the bulk of the studio sessions). Claudio Sanchez is still letting loose with his Geddy Lee inspired high pitched timbre and there's still the detailed layering of his and Travis Stever's guitars, creating a sheer metallic interface that wavers steadfastly between Prog and Pop.
In fact, it's these very same skirling guitars--with a slight '80s bent, mind you--that lead into the album's title track, which continues to ride with emphatic propulsion thanks to "dueling" guitars that flutter between left and right channels. "The Hound (Of Blood and Rank)" is an intriguing number that borrows from The Who, Judas Priest, and Loverboy. At least those are the influences that bleed to the top, whether it's via the opening synths, the rolling vocal chorus or the slick guitar solo tossed in at the 2:47 marker.
The '80s sensibility continues on "Feathers," but when we say '80s we're not talking Hair inspired, but more just ballsy rock (think Jefferson Starship, Triumph or Saga to a degree). In many respects Sanchez is exploring more of his melodic side, incorporating chunks of mainstream rock vocal theatrics into their chugging mix. It makes for an interesting blend of retro shock and present day blitz. With "The Running Free," synth burbles re-enter the mix, creating ethereal ambiance that offsets the grinding guitar crunch. Sanchez lets loose with piercing glory, riding the sonic crest with assured measure. The chorus again calls upon the visions of the '80s, crooning with a pop inflected precision (just wait till you hear the "oh-oh-oh's").
Acoustic guitar leads you into "Mother Superior," which has Sanchez delivering a melodramatic swoon that's drenched in breathy inflections. The track pretty much retains its down-tempo stance, using military cadence rhythms (lots of snare), atmospheric synth, and hypnotic guitars. It's a restrained slice of progressiveness. "Gravemakers and Gunslingers" has a smidgen of Sabbath buried in the rhythm guitar and a whole lotta attitude built into the rest of the song. The track gets into truly bugged terrain toward the midway part where deep, Stygian vocals play off cherubic fantasies. Like many of the tracks on the album there are several overlapping layers to this one and listening to it on headphones may be the only way to go. The guitars continue to skirl and grind on "Justice in Murder," while Sanchez lets his voice run amok.
The final five tracks on the album are lumped into their own section subtitled The End Complete. Part 1 is titled "The Fall of House Atlantic" and on paper it could easily be mistook for a musical interlude about Dune or an allusion to Poe. Delving into mock opera it is filled with swelling vocals and urgent acoustic guitar and serves as the intro to Part II, "Radio Bye Bye." This track is more guttural and to the point, thanks to cranking guitars and steady rhythms, not to mention Sanchez in restrained vocal mode. Part III, "The End Complete," goes for dissonance at the outset, then dips into chugging guitars that echo and drift between the channels. Sanchez delivers a piercing veil that rides the turgid guitar riffs and then soars into chaotic joy on the chorus. There's more intense vocalistics in store, however, as Sanchez lumbers into scream therapy, demon-from-hell growling, and careening frenzy. At 7-minutes and 44-seconds it's the most epic number on the entire album, at least time wise.
Things get toned down a hair on Part IV, "The Road and the Damned," which employs a much more symphonic approach, coupled with soaring neo-balladeering. As for the final, closing track, Part V, "On the Brink," it begins calmly enough with drifting ambiance that leads into pseudo Country guitar and a vibe not quite unlike mid-period Pink Floyd. It may be the most progressive--but in an uncharacteristic way--track on the entire album. Sanchez's vocals are at their peak here, eschewing his often ear-splitting wail for a more earthy approach; call it Coheed Jazz, if you will. An intriguing ending to an interesting album.
On the whole No World For Tomorrow is an interesting endeavor, treading a lot of musical terrain and making some inventive choices in terms of genre manipulation. Astute music lovers will hear bits and pieces of numerous musical acts floating through every song like deceptive specters, which makes for compelling listening, albeit on a strangely d¿j¿ vu level. The group's willingness to experiment and tweak the conventions of well-known genres (Pop, Alt-Rock, Prog, Metal, and even Burt Bacharach-styled lushness) is their strongest suit. Yet given this hodge-podge musical assault it's very safe to say that Coheed and Cambria is not for everyone.
Buy Coheed and Cambria - No World For Tomorrow
01 The Reaping
02 No World For Tomorrow
03 The Hound (of Blood and Rank)
04 Feathers
05 The Running Free
06 Mother Superior
07 Gravemakers & Gunslingers
08 Justice In Murder
09 I - The Fall of House Atlantic
10 II - Radio Bye Bye
11 III - The End Complete
12 IV - The Road and the Damned
13 V - On The Brink
Coheed and Cambria - No World For Tomorrow
