So, there's a small story behind my reviewing this album. My friend Birkner specifically requested the review, and I didn't own a copy of the CD. Coheed And Cambria are just one of those bands that I haven't gotten around to buying anything from. Therefore, in order to actually write this review I had to borrow the CD from Drew, and it seems he liked this album so much he had burnt out his original copy, and had to burn himself a backup disc. This totally annoys me, because none of the computer information comes up, except for the track length. This means I have to pay a little more attention to the packaging than I want to.
Now, I've enjoyed Coheed And Cambria's music since I first heard/came across one of their music videos. I'm not sure what song it was, or even what the video looked like, but I recognized the talent of this band right away. However, based on the time in which I saw the video, I'm going to guess it was Devil In Jersey City. Which was the only video from The Second Stage Turbine Blade album.
I'm going to start this review with everything negative I can think of with this album. First off it's a Prog Rock band, with a really high pitched male vocalist, and there's more to this story than one simple album. With a little research I discovered that Second Stage is actually the second part of a five-part pentalogy, telling the story of The Amory Wars. But, it's the first album from the band. Right away this is going to be too complex for many people, and even I'm a little annoyed by this. I hate starting a story in the middle.
Which takes me back to the vocalist issue. Claudio Sanchez, which is the primary vocalist, as well as guitarist, sounds like a woman. He's not high pitched like Geddy Lee, I mean I mistook his voice for that of one of the female Pop tarts more than once. This shouldn't be an issue and normally wouldn't, except that I find I have to pay more attention to the written words (read the lyrics) than just listening to the album, especially because of the story complexity. Which annoys the hell out of me. It's like buying an audio book, so you can read along with your paperback copy. It doesn't help I find the vocals disappear into the mix a lot as well.
The opening track is really creepy in that classic horror movie kind of sound. This is also the title track. I like that it sounds like it was even recorded back in the fifties or sixties for a movie. But it's really more of a short soundscape that sets a great mood.
Time Consumer follows that up. Musically this has a great soundtrack. Which takes you on a journey all on it's own. You can hear experimentation, and exploration, for the sake of adding rich flavour to the song.
I do feel bad that I don't care for the vocalist, because they do remind me a lot of Rush, but then again I don't care for all Rush songs either. However, I can listen to just the music and let it take me away.
After that comes Devil In Jersey City, which is a fast paced head bopper. It's layered with a bunch of layers and textures and I would say that it's like listening to an Emo version of Metallica's ...And Justice For All. There's a shit load of killer riffs thrown together, with detailed lyircs interwoven in the music. To the casual listener, it's easy to miss the point. As a fan this is the birth of a religion. There's even some customary screaming.
I enjoy the addition of simple sound effects to help add effects to a song. It adds more to the audio table for me. Everything Evil really gives off a vibe that the title would imply.
Delirium Trigger has a bit of Funk to it. It has a creepy, yet some how sexy, feel going on. The best way I know how to describe listening to this album is like listening to a Rammstein album. I know words are being said, and they sound cool in the music, but I don't know what they are. However, mixed with the music it sounds awesome. It would be like going to an Opera for me.
Heartshot Kid Disaster starts off with some screaming, and makes me think of My Chemical Romance. Another band where I love the overall sound, but find myself unable to pay attention to most of the lyrics. I think that would be a great description. But I all I hear is a lot of Rush in this song. The bass has a total Geddy Lee like tone, and there is some beautiful tempo changes, but it has more screaming than I like in my music.
When 33 kicks off my attention is caught once again. This song fires off like a shot, and it moves like a foot chase in the middle of the night.
I will say that I notice the passage of time, or how it seems to go a little slower while listening to these songs. I get it, and why it's done. It's just not my thing.
Junesong Provision sounds like a high paced version of the last couple songs. At this point it feels like the album is becoming one of those albums that complain about with Prog, until the odd vocals kick in, and change the dynamic in a much needed way. The tone it comes back with also adds a bit of punch. Then the song kind of starts to remind me of a Screamo version of Pink Floyd. Then somewhere around the three and a half marker I think it changes to a new song but it's still the same one.
Neverender starts up with another one of those classic Horror soundtrack soundscapes again, before kicking into a song that seems very similar to the rest of the album at this point. I get why some people love them, I just don't care for them. As for this song I just find it boring. I am sorry, it's a vocals thing. I get that it sucks, but I have a buddy that doesn't care for Bruce Dickinson of Iron Maiden's vocals, which is why he can't get into Maiden.
God Send Conspirator finishes up the official album, which is a bit of Latin Flavoured Jazz Funk. It's a pretty cool sounding number. By the point this song hits three minutes I notice it seems a little long. This reminds me of Rush's mid Eighties work, but with guitars instead of keyboards.
Then there's three demo tracks. Well there's supposed to be. The copy Drew included in here only has two of the demos, and I'm okay with that. So I can only talk about Elf Tower New Mexico, and Everything Evil.
The first track opens up with one of those classic soundtrack sounds I've already mentioned, before going into a song that has everything except for the drums pushed forward. This is a demo, so I won't bitch. I think it's good for what it is
The demo for Eveything Evil is long. The version on the album is just shy of six minutes. The demo is over thirteen. I do enjoy the music aspect to it, it takes you somewhere. On what one may call an astral ride. This song feels totally cosmic to me. Even if it's a space battle. I do like the trippy instrumental around the four minute marker. It's different, and has a cool effect.
Also it seems that the other reason this track is so long, is due to a hidden bonus track. IRO-bot starts at 7:25. This is an accoustic track, that's really creepy in a Jefferson Airplane kind of way. This is some totally freaky stuff. There does come a point when I would like the music to have more variation and I find it a bit repetitive, but it serves a larger purpose.
I understand why Birkner and Drew love this album so much. It's only my personal bias that keeps me from totally digging on it.
8/10 - content
7/10 - production
6/10 - personal bias
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