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Showing posts with label Coheed and Cambria. Show all posts
Showing posts with label Coheed and Cambria. Show all posts
Sunday, May 2, 2010
Sunday, April 25, 2010
"Unplugging": Transitioning from Electric to Acoustic as a band.
I’ve long hated electric musicians, mostly because it’s easy to sound alright without having any real ability. Entire genres are built on this, letting people that have little talent get rich because of their distortion pedals. It’s a cheap trick that anyone can do if they know how to form a power chord (fifth). I don’t say this for jealousy, or as a groundbreaking rally for change. I was taught how to play guitar classically in high school, and now can play nearly any style I really want with the exceptions of Country and Jazz. For me, the way to measure a musician or a whole band is to see how they transition between electric and acoustic.
This is not true for all musicians – some can do things with electric instruments that simply cannot be done with acoustic. I’d name a few, but they don’t really matter all that much for this argument. What matters are the artists that can handle their instruments and songs well… plugged and otherwise. I’ve excluded certain acts from this list because they’re no-brainers (Goo Goo Dolls are a perfect example, since they’re mostly acoustic anyway).
That’s a lot of intro. Enjoy it.
A Perfect Circle
A Perfect Circle was one of my favorite bands as a teenager, and they’ve stuck with me as I grew older. On the albums they have a few acoustic driven songs, but very few that really grab the listener are unplugged. Instead, they’ve got a very good acoustic set of songs that can be easily found online, all of which are mature and breathtaking.
They matter on this list because they’ve done more than just take the same songs and swap instruments. “The Hollow” was completely rewritten and arranged for the new instrumentation, including less conventional drums and piano along with acoustic guitar and bass. This arrangement stays current through most of the acoustic versions available, including “Weak and Powerless,” “Sleeping Beauty,” and “3 Libras.” They all take on a nearly mystic feeling. They are all distinct from and as powerful (if not more so) than the original album recordings.
Coheed and Cambria
It’s no secret that I’m a fan boy for Coheed, but I think this isn’t without reason. I’ve mentioned some of their acoustic work in previous posts. It’s important enough for this to be redundant.
Like A Perfect Circle, they’ve completely re-arranged various songs to transition better into the world of the unplugged. “A Favor House Atlantic” and “Here We Are Juggernaut” are fantastic examples of songs that are far more powerful on steel strings than they could be on nickel. Coheed and Cambria have a much more expansive body of acoustic songs than most other bands on this list. Most aren’t all that special unplugged, but the ones that are particularly grab the listener in a chokehold without letting them up to breathe until the song’s finished. “Favor House” was streamlined to reduce the monotonous crunch of the palm muted power chord chug and boil it down to a raked open progression with feeling. “Juggernaut” most notably now has an airy guitar line… written in a major key, rather than a minor key. It’s slower, and less driving. The track is much more relaxing for it.
Many songs need little work to sound acceptable acoustic, “Welcome Home” is already very well structured for unplugging outside of some effects in the solos. The listener hardly notices they’re even missing. “From Fear Through The Eyes of Madness” sounds just as happy and uplifting acoustic as it does in the album’s recording, with the only needless addition being an octaver on the vocals. This withstanding, the whole piece is lovely. “Blood Red Summer” and “The Running Free” have little changed about them, yet both are somehow better acoustic than they were originally. Maybe this is why I’m such an avid fan.
Godsmack
Godsmack’s first album is one of my favorite hard rock albums of all time. Then they released the second album, and things fell apart for my opinion of them. After another bad album, they decided to release an acoustic album and saved themselves.
Like all other bands on this list, they arrange songs that were previously electric for a new life, and like all other bands on this list, the new versions are usually better than the originals. A notable difference is that two new songs were written solely for acoustic instrumentation, “Touché” and “Voices,” if memory serves. Both are worth the album purchase.
Not everything is so fantastic unplugged, “Keep Away” feels like it was only included because of it’s popularity as the original single. The new arrangement of “Awake” (now entitled “Asleep”) is soulless and monotonous. It’s an inspired attempt, and on principle it’s a nice twist to leave only the bones of the song that convinced so many hundreds of thousands of people to buy the second album. It just doesn’t work very well. Despite all this, they’re still talented enough to stand on this list alongside the other juggernauts.
Rise Against
A neo-punk band can rock out with nylon and steel strings? For serious?
Yes.
They don’t have all that many songs acoustic, but there are enough to make them noteworthy. Besides already acoustic songs (“Swing Life Away” and “Hero of War”) they’ve done “Prayer of the Refugee,” “Ready to Fall,” “Re-Education Through Labor” and many others acoustic. Stripping down the screaming and strummy chord progressions shows well written, hooky, powerful songs that have pop sensibilities without sacrificing meaningful significance. They aren’t generally all that different from the originals besides the change in vocal tone and naked strings, but that’s enough to make it notable.
Stone Temple Pilots
There are a lot of things that contribute to STP’s placement on this list. Most notably is Scott Weiland in his prime, when he could still control his voice and do nearly anything he really wanted. Didn’t matter that he was a fledgling drug addict, all that mattered was his considerable vocal ability. Everything else for the acoustic recordings was perfect as well: Simple percussion, straight-forward guitar, and nearly unchanged bass. That’s all it really took to make some of the best songs in the grunge era even better.
Most notable are “Big Empty,” “Plush,” and “Sourgirl.” With the exception of “Sourgirl,” nearly every song available unplugged were from the earlier career, with the later being the last real single before the band fell apart (and from what I understand, recently reunited or some silly nonsense). I wish they’d kept up with the acoustic material, they could’ve done so much more.
Honorable Mentions
Pearl Jam – They have some fantastic songs acoustic, but none really surpass the originals in terms of improvements or arrangements. “Black” is the only one that really stands out.
Lacuna Coil – Lacuna Coil probably should’ve been included above just for Christina Scabia’s ability alone, and how nice her voice sounds with acoustic guitars. The problems come from the other singer, who really sounds quite terrible. While the guitarists aren’t bad unplugged, they and Christina alone cannot make the songs sound as good as they do when distortion covers the other guy’s voice. However, “Heaven’s a Lie” is quite awesome unplugged.
Staind – They don’t do anything all that special with their music acoustic, and honestly get kind of boring as they go. The one important note is that they cover songs quite well. “Nothing Else Matters” and “Black” are both lovely. Also, “Epiphany” was already acoustic, but it sounds so nice unplugged. This is probably just Aaron Lewis’ voice being so lovely.
Ill Niño – I really wanted to put this band on the list, but they’ve got a few problems. They’ve only got two unplugged songs (and “How Can I Live?” is fantastic acoustic). The singer also can’t seem to control his voice, which is a huge problem. If he had vocal lessons and they wrote more acoustic, then I’m sure I’d love them more.
No Doubt – Not gonna lie, I was never much a fan of No Doubt. I knew a few songs from them, but nothing ever really grabbed me. Unplugged, they’re a cubic shit-ton more interesting, but they don’t really feel like they’re doing all that much to the music. I enjoy them more this way, but they don’t quite rub musically as a band should when they transition between an amp and a sound hole. I think I do enjoy them more now though, for what it’s worth.
Disagree?
This is just how it works in my taste, you don’t have to agree. Maybe you want to count an act like Pink Floyd, who mostly wrote in acoustic. I love them too, but there’s no transition to really look at. Maybe you want to look at the Paige and Plant acoustic thing they did a few years ago. It was cool, but really fucking weird. Doesn’t work very well acoustic without the aid of an entire orchestra. Doesn’t make the mark for me.
End of today’s rant.
This is not true for all musicians – some can do things with electric instruments that simply cannot be done with acoustic. I’d name a few, but they don’t really matter all that much for this argument. What matters are the artists that can handle their instruments and songs well… plugged and otherwise. I’ve excluded certain acts from this list because they’re no-brainers (Goo Goo Dolls are a perfect example, since they’re mostly acoustic anyway).
That’s a lot of intro. Enjoy it.
A Perfect Circle
A Perfect Circle was one of my favorite bands as a teenager, and they’ve stuck with me as I grew older. On the albums they have a few acoustic driven songs, but very few that really grab the listener are unplugged. Instead, they’ve got a very good acoustic set of songs that can be easily found online, all of which are mature and breathtaking.
They matter on this list because they’ve done more than just take the same songs and swap instruments. “The Hollow” was completely rewritten and arranged for the new instrumentation, including less conventional drums and piano along with acoustic guitar and bass. This arrangement stays current through most of the acoustic versions available, including “Weak and Powerless,” “Sleeping Beauty,” and “3 Libras.” They all take on a nearly mystic feeling. They are all distinct from and as powerful (if not more so) than the original album recordings.
Coheed and Cambria
It’s no secret that I’m a fan boy for Coheed, but I think this isn’t without reason. I’ve mentioned some of their acoustic work in previous posts. It’s important enough for this to be redundant.
Like A Perfect Circle, they’ve completely re-arranged various songs to transition better into the world of the unplugged. “A Favor House Atlantic” and “Here We Are Juggernaut” are fantastic examples of songs that are far more powerful on steel strings than they could be on nickel. Coheed and Cambria have a much more expansive body of acoustic songs than most other bands on this list. Most aren’t all that special unplugged, but the ones that are particularly grab the listener in a chokehold without letting them up to breathe until the song’s finished. “Favor House” was streamlined to reduce the monotonous crunch of the palm muted power chord chug and boil it down to a raked open progression with feeling. “Juggernaut” most notably now has an airy guitar line… written in a major key, rather than a minor key. It’s slower, and less driving. The track is much more relaxing for it.
Many songs need little work to sound acceptable acoustic, “Welcome Home” is already very well structured for unplugging outside of some effects in the solos. The listener hardly notices they’re even missing. “From Fear Through The Eyes of Madness” sounds just as happy and uplifting acoustic as it does in the album’s recording, with the only needless addition being an octaver on the vocals. This withstanding, the whole piece is lovely. “Blood Red Summer” and “The Running Free” have little changed about them, yet both are somehow better acoustic than they were originally. Maybe this is why I’m such an avid fan.
Godsmack
Godsmack’s first album is one of my favorite hard rock albums of all time. Then they released the second album, and things fell apart for my opinion of them. After another bad album, they decided to release an acoustic album and saved themselves.
Like all other bands on this list, they arrange songs that were previously electric for a new life, and like all other bands on this list, the new versions are usually better than the originals. A notable difference is that two new songs were written solely for acoustic instrumentation, “Touché” and “Voices,” if memory serves. Both are worth the album purchase.
Not everything is so fantastic unplugged, “Keep Away” feels like it was only included because of it’s popularity as the original single. The new arrangement of “Awake” (now entitled “Asleep”) is soulless and monotonous. It’s an inspired attempt, and on principle it’s a nice twist to leave only the bones of the song that convinced so many hundreds of thousands of people to buy the second album. It just doesn’t work very well. Despite all this, they’re still talented enough to stand on this list alongside the other juggernauts.
Rise Against
A neo-punk band can rock out with nylon and steel strings? For serious?
Yes.
They don’t have all that many songs acoustic, but there are enough to make them noteworthy. Besides already acoustic songs (“Swing Life Away” and “Hero of War”) they’ve done “Prayer of the Refugee,” “Ready to Fall,” “Re-Education Through Labor” and many others acoustic. Stripping down the screaming and strummy chord progressions shows well written, hooky, powerful songs that have pop sensibilities without sacrificing meaningful significance. They aren’t generally all that different from the originals besides the change in vocal tone and naked strings, but that’s enough to make it notable.
Stone Temple Pilots
There are a lot of things that contribute to STP’s placement on this list. Most notably is Scott Weiland in his prime, when he could still control his voice and do nearly anything he really wanted. Didn’t matter that he was a fledgling drug addict, all that mattered was his considerable vocal ability. Everything else for the acoustic recordings was perfect as well: Simple percussion, straight-forward guitar, and nearly unchanged bass. That’s all it really took to make some of the best songs in the grunge era even better.
Most notable are “Big Empty,” “Plush,” and “Sourgirl.” With the exception of “Sourgirl,” nearly every song available unplugged were from the earlier career, with the later being the last real single before the band fell apart (and from what I understand, recently reunited or some silly nonsense). I wish they’d kept up with the acoustic material, they could’ve done so much more.
Honorable Mentions
Pearl Jam – They have some fantastic songs acoustic, but none really surpass the originals in terms of improvements or arrangements. “Black” is the only one that really stands out.
Lacuna Coil – Lacuna Coil probably should’ve been included above just for Christina Scabia’s ability alone, and how nice her voice sounds with acoustic guitars. The problems come from the other singer, who really sounds quite terrible. While the guitarists aren’t bad unplugged, they and Christina alone cannot make the songs sound as good as they do when distortion covers the other guy’s voice. However, “Heaven’s a Lie” is quite awesome unplugged.
Staind – They don’t do anything all that special with their music acoustic, and honestly get kind of boring as they go. The one important note is that they cover songs quite well. “Nothing Else Matters” and “Black” are both lovely. Also, “Epiphany” was already acoustic, but it sounds so nice unplugged. This is probably just Aaron Lewis’ voice being so lovely.
Ill Niño – I really wanted to put this band on the list, but they’ve got a few problems. They’ve only got two unplugged songs (and “How Can I Live?” is fantastic acoustic). The singer also can’t seem to control his voice, which is a huge problem. If he had vocal lessons and they wrote more acoustic, then I’m sure I’d love them more.
No Doubt – Not gonna lie, I was never much a fan of No Doubt. I knew a few songs from them, but nothing ever really grabbed me. Unplugged, they’re a cubic shit-ton more interesting, but they don’t really feel like they’re doing all that much to the music. I enjoy them more this way, but they don’t quite rub musically as a band should when they transition between an amp and a sound hole. I think I do enjoy them more now though, for what it’s worth.
Disagree?
This is just how it works in my taste, you don’t have to agree. Maybe you want to count an act like Pink Floyd, who mostly wrote in acoustic. I love them too, but there’s no transition to really look at. Maybe you want to look at the Paige and Plant acoustic thing they did a few years ago. It was cool, but really fucking weird. Doesn’t work very well acoustic without the aid of an entire orchestra. Doesn’t make the mark for me.
End of today’s rant.
Wednesday, April 14, 2010
Year of the Black Rainbow Review
A few months back I wrote a blog about my expectations for this album, and I nailed it on the head. Now you're getting a song by song fan review.
One
All Coheed albums have an introduction track. Of them, only "The Reaping" from No World For Tomorrow has had lyrics. It's better this way, the ambient atmosphere building to the opening track always helps build suspense for the overall album. Out of them all, "One" is possibly the worst. It's mostly ambient noise, without much melody to stand on it's own. For each of the other four albums, there is something you can hum about the leads. This one just makes you feel empty. That was the point, story wise, but it doesn't even qualify as a song this time around.
The Broken
Like all other albums in their discography, the pattern continues with a powerful, crowd arousing anthem. "The Broken" is straight forward and heavy, and the unofficial first single. It's the current lead song for concerts, and one of my favorites ever so far. If you had to listen to only one song from this album, it should be "World of Lines." If two, then "The Broken" should be your next number.
Guns of Summer
What's that? We need to show off what the new drummer is capable of? Okay! Guns of Summer has the most ballsy drum line out of any Coheed song so far. While the drums are fucking awesome, the rest of the song is rather... ininspiring. It shows well what they're capable of, but it's not really a very well written song. The chorus is open and free, which contrasts greatly with the insanity in the verses. I'll probably listen to this one less than the others. It seems like it'd be a nice chase scene, or something else with high tension.
Here We Are Juggernaut
Hey, it's a single. It took weeks/months(?) to grow on me, but "Juggernaut" has become one of my favorites of the singles. Initially I loved how diverse and bottom heavy it was, and how uplifting the chorus was, and the bridge, and just about each part individually. I hated how they came together. Maybe it's just weird compositional bridging, or the shift between major and minor. That could explain why the acoustic version is entirely in major, and is one of the best versions of any song they've ever wrote. The album version is good, but it takes time to sink in.
Far
Each album has one of these. The light, usually sappy songs with an airy substance recur, and each is more coherent than the last. "IRO-Bot" was bizarre, "Light and the Glass" was a power-ballad, "Wake Up" was a guilt-trip in major, and "Mother Superior" was too amazing for it's own good. This song has a lot to compete against. It has the benefit of Chris Penne's heavy drum influence to keep it going with an industrial feel, and the dirty guitars playing such a light, melodic piece add an interesting twist to a straight forward song. I like the album version better than the acoustic floating around online. "Far" gets a thumbs up.
This Shattered Symphony
This song is a little too busy for me, and once it's done trying to straighten out it's ADD, I'll be more than happy to review it. I suspect it's a major part of the storyline, but it's nearly my least favorite song on the album. It's heavy, and I suppose the writing isn't terrible, but it sounds too much like it's trying too hard.
World of Lines
I've been dying for this song since they used the instrumental as a background for a studio demo video. It's got a driving tempo and rhythm, a hook-heavy chorus, and verses that don't bore me. It doesn't try to overdo itself, and in the end it's my favorite song on the album (followed closely by "The Broken" and "Far.") You should listen to this one. Even if you don't like Coheed, or progressive rock, or oxygen. This one's good for everyone.
Made Out of Nothing
When the album was first put up on MySpace for all to hear, I felt like this song was the start of a heavy decline in the album. Now that I've heard it more, I really don't mind "Made Out of Nothing" as much. It's still very slow, very long, and not really all that interesting, but it's not bad. It makes a fantastic background sound while doing homework/cleaning/yardwork/etc, and it's got some minor hooks in it too. It'll get stuck in your head, you'll hate yourself for it, and then you'll listen to it again. It's not a bad thing, embrace it. Then go listen to the first half again.
Pearl of the Stars
Surprise! There's a second ballad. This one fits the pattern a little better, but has a Pink Floyd like breakdown/solo 3/5 into the song. I don't like this song very much though. It's disheartening: I love Pink Floyd, I love Coheed and Cambria. I should adore this song and need new pants after hearing. It might be the writing prospective though, lyrically the chorus is terrible. You NEVER rhyme "you" with "you." It's so full of cheese that it might as well give you arterial clogging. It should've/could've been better, but Claudio stepped on his own toes for this one. It's a nice song acoustic too, by the way. Strange flip-flop there. Really, if you start listening at the third minute, you can get straight to the best part of the song. The solo is one of the highlights of the album, but the rest of the song wouldn't ever let you know.
In the Flame of Error
The Pink Floyd theme carries over with the arrangement of this song, but it's quickly shot down. The song is complicated, and can't seem to make up its mind for what it wants to do. Some instances are Iron Maiden tribute, the chorus is driving and powerful, but the weird lapses in and out of "The Wall" era Floyd kind of hurts the vibe. There's also a weird vocal progression that jars with the melody of the song. I don't think I'd ever want to hear this one live. That makes me very, very sad to say. Quite the flaming error guys.
When Skeletons Live
A friend of mine that enjoyed the early leak of the album (he owns the hard copy now, don't worry) kept ranting about how much he loves this song. I gotta say, it's got some really cool guitar work going on. The structure of it doesn't catch me like I really hoped it would though. I can see why he liked it - and I imagine if I listen to it more it might stick with me in the same way too - but I don't think I'm sold on it. Besides that, I hate colloquialisms, and the chorus is built on one. Urgh.
The Black Rainbow
The theme for the past few albums has been a slow, heavy, moody, big finish. "The Light and the Glass," "The Final Cut," and "On the Brink" all set a precedent for "The Black Rainbow," one that's hard to meet. In this regard, it disappoints. It does not stand up to any of the others in the way it should. It's a pretty good jam, and a decent way to end the album, but it lacks the same balls the album started with. Rather than a slow, exploratory piece, it should've been more bombastic. It's very much an atmospheric piece that amplifies the chunk of story it represents, but it's too fucking long to stand as a song. I'm disappointed by this ending.
Overall
Songs loved: 4/11 [Broken, Juggernaut, Far, World]
Songs enjoyed: 4/11 [Guns, Nothing, Pearl, Skeletons]
Songs hated: 1/11 [Error]
I am indifferent to "One" (not counting towards the song mark), "Shattered Symphony," and "Black Rainbow." "Shattered Symphony" isn't a wonderful song, but I don't feel ripped off that it's taking up space on the album (as Flaming Error makes me feel right now). "Black Rainbow" isn't bad in itself, but it seems limited in it's use for me.
It's worth buying, but it's very different from most other Coheed albums. If you're a fan of progressive/metal/industrial things, then this album might rub you just right. I'm satisfied with it, but it's only with the promise of other amazing acoustic versions of the songs. "Here We Are Juggernaut"'s acoustic is one of their best unplugged pieces to date (the acoustic versions of "A Favor House Atlantic" and "The Light and the Glass" being it's competition). This also doesn't count the demos and bonus songs in different versions. I'll get to them eventually.
One
All Coheed albums have an introduction track. Of them, only "The Reaping" from No World For Tomorrow has had lyrics. It's better this way, the ambient atmosphere building to the opening track always helps build suspense for the overall album. Out of them all, "One" is possibly the worst. It's mostly ambient noise, without much melody to stand on it's own. For each of the other four albums, there is something you can hum about the leads. This one just makes you feel empty. That was the point, story wise, but it doesn't even qualify as a song this time around.
The Broken
Like all other albums in their discography, the pattern continues with a powerful, crowd arousing anthem. "The Broken" is straight forward and heavy, and the unofficial first single. It's the current lead song for concerts, and one of my favorites ever so far. If you had to listen to only one song from this album, it should be "World of Lines." If two, then "The Broken" should be your next number.
Guns of Summer
What's that? We need to show off what the new drummer is capable of? Okay! Guns of Summer has the most ballsy drum line out of any Coheed song so far. While the drums are fucking awesome, the rest of the song is rather... ininspiring. It shows well what they're capable of, but it's not really a very well written song. The chorus is open and free, which contrasts greatly with the insanity in the verses. I'll probably listen to this one less than the others. It seems like it'd be a nice chase scene, or something else with high tension.
Here We Are Juggernaut
Hey, it's a single. It took weeks/months(?) to grow on me, but "Juggernaut" has become one of my favorites of the singles. Initially I loved how diverse and bottom heavy it was, and how uplifting the chorus was, and the bridge, and just about each part individually. I hated how they came together. Maybe it's just weird compositional bridging, or the shift between major and minor. That could explain why the acoustic version is entirely in major, and is one of the best versions of any song they've ever wrote. The album version is good, but it takes time to sink in.
Far
Each album has one of these. The light, usually sappy songs with an airy substance recur, and each is more coherent than the last. "IRO-Bot" was bizarre, "Light and the Glass" was a power-ballad, "Wake Up" was a guilt-trip in major, and "Mother Superior" was too amazing for it's own good. This song has a lot to compete against. It has the benefit of Chris Penne's heavy drum influence to keep it going with an industrial feel, and the dirty guitars playing such a light, melodic piece add an interesting twist to a straight forward song. I like the album version better than the acoustic floating around online. "Far" gets a thumbs up.
This Shattered Symphony
This song is a little too busy for me, and once it's done trying to straighten out it's ADD, I'll be more than happy to review it. I suspect it's a major part of the storyline, but it's nearly my least favorite song on the album. It's heavy, and I suppose the writing isn't terrible, but it sounds too much like it's trying too hard.
World of Lines
I've been dying for this song since they used the instrumental as a background for a studio demo video. It's got a driving tempo and rhythm, a hook-heavy chorus, and verses that don't bore me. It doesn't try to overdo itself, and in the end it's my favorite song on the album (followed closely by "The Broken" and "Far.") You should listen to this one. Even if you don't like Coheed, or progressive rock, or oxygen. This one's good for everyone.
Made Out of Nothing
When the album was first put up on MySpace for all to hear, I felt like this song was the start of a heavy decline in the album. Now that I've heard it more, I really don't mind "Made Out of Nothing" as much. It's still very slow, very long, and not really all that interesting, but it's not bad. It makes a fantastic background sound while doing homework/cleaning/yardwork/etc, and it's got some minor hooks in it too. It'll get stuck in your head, you'll hate yourself for it, and then you'll listen to it again. It's not a bad thing, embrace it. Then go listen to the first half again.
Pearl of the Stars
Surprise! There's a second ballad. This one fits the pattern a little better, but has a Pink Floyd like breakdown/solo 3/5 into the song. I don't like this song very much though. It's disheartening: I love Pink Floyd, I love Coheed and Cambria. I should adore this song and need new pants after hearing. It might be the writing prospective though, lyrically the chorus is terrible. You NEVER rhyme "you" with "you." It's so full of cheese that it might as well give you arterial clogging. It should've/could've been better, but Claudio stepped on his own toes for this one. It's a nice song acoustic too, by the way. Strange flip-flop there. Really, if you start listening at the third minute, you can get straight to the best part of the song. The solo is one of the highlights of the album, but the rest of the song wouldn't ever let you know.
In the Flame of Error
The Pink Floyd theme carries over with the arrangement of this song, but it's quickly shot down. The song is complicated, and can't seem to make up its mind for what it wants to do. Some instances are Iron Maiden tribute, the chorus is driving and powerful, but the weird lapses in and out of "The Wall" era Floyd kind of hurts the vibe. There's also a weird vocal progression that jars with the melody of the song. I don't think I'd ever want to hear this one live. That makes me very, very sad to say. Quite the flaming error guys.
When Skeletons Live
A friend of mine that enjoyed the early leak of the album (he owns the hard copy now, don't worry) kept ranting about how much he loves this song. I gotta say, it's got some really cool guitar work going on. The structure of it doesn't catch me like I really hoped it would though. I can see why he liked it - and I imagine if I listen to it more it might stick with me in the same way too - but I don't think I'm sold on it. Besides that, I hate colloquialisms, and the chorus is built on one. Urgh.
The Black Rainbow
The theme for the past few albums has been a slow, heavy, moody, big finish. "The Light and the Glass," "The Final Cut," and "On the Brink" all set a precedent for "The Black Rainbow," one that's hard to meet. In this regard, it disappoints. It does not stand up to any of the others in the way it should. It's a pretty good jam, and a decent way to end the album, but it lacks the same balls the album started with. Rather than a slow, exploratory piece, it should've been more bombastic. It's very much an atmospheric piece that amplifies the chunk of story it represents, but it's too fucking long to stand as a song. I'm disappointed by this ending.
Overall
Songs loved: 4/11 [Broken, Juggernaut, Far, World]
Songs enjoyed: 4/11 [Guns, Nothing, Pearl, Skeletons]
Songs hated: 1/11 [Error]
I am indifferent to "One" (not counting towards the song mark), "Shattered Symphony," and "Black Rainbow." "Shattered Symphony" isn't a wonderful song, but I don't feel ripped off that it's taking up space on the album (as Flaming Error makes me feel right now). "Black Rainbow" isn't bad in itself, but it seems limited in it's use for me.
It's worth buying, but it's very different from most other Coheed albums. If you're a fan of progressive/metal/industrial things, then this album might rub you just right. I'm satisfied with it, but it's only with the promise of other amazing acoustic versions of the songs. "Here We Are Juggernaut"'s acoustic is one of their best unplugged pieces to date (the acoustic versions of "A Favor House Atlantic" and "The Light and the Glass" being it's competition). This also doesn't count the demos and bonus songs in different versions. I'll get to them eventually.
Tuesday, March 30, 2010
Spring Breaking Walls
"The concept of a 'Spring Break' has always fascinated me, even if it's usually just an excuse for people to get drunk and take their clothes off. I've never celebrated in such a way, though taking my clothes off is always a good idea. I've opted almost universally to stay in the area for the break, with rare exceptions when I was younger to go upstate with my family. I hated those times."
I search offhandedly for my bag of gummy bears.
"Really, if I'm going to have a week and a half off from my classes and work, do you expect me to go do something I won't remember after? Or wake up with an infestation of crab-mites? Or find out that the person in the bed with me looks much less attractive and suddenly more manly than she did when I was drunk? There's no point to it."
Where the fuck are my gummy bears? I ignore it, and keep typing.
"If I wanted that kind of nonsense, I could do it on a weekend and have significantly less memory loss. How many college students do that on a daily basis anyway? If my university wasn't commuter based I imagine there'd be a higher drop-out rate and a much higher level of alcohol poisoning on campus. Why would I want to do that though?"
There they are! I bite the head off of a green squishy bear.
"Besides that, there's so many better things I could do. Gatherings with friends, construction projects (which are actually quite rewarding). Coheed and Cambria concerts that were sold out until this afternoon that you jumped on like the 'Tea Party' to Obama's Health Care bill, except your jumping was productive. These opportunities would be missed in Cancun, or wherever the hell the young and logically handicapped people go get herpes these days."
I smile, kill the last few bears, and my fingers come to a rest.
I search offhandedly for my bag of gummy bears.
"Really, if I'm going to have a week and a half off from my classes and work, do you expect me to go do something I won't remember after? Or wake up with an infestation of crab-mites? Or find out that the person in the bed with me looks much less attractive and suddenly more manly than she did when I was drunk? There's no point to it."
Where the fuck are my gummy bears? I ignore it, and keep typing.
"If I wanted that kind of nonsense, I could do it on a weekend and have significantly less memory loss. How many college students do that on a daily basis anyway? If my university wasn't commuter based I imagine there'd be a higher drop-out rate and a much higher level of alcohol poisoning on campus. Why would I want to do that though?"
There they are! I bite the head off of a green squishy bear.
"Besides that, there's so many better things I could do. Gatherings with friends, construction projects (which are actually quite rewarding). Coheed and Cambria concerts that were sold out until this afternoon that you jumped on like the 'Tea Party' to Obama's Health Care bill, except your jumping was productive. These opportunities would be missed in Cancun, or wherever the hell the young and logically handicapped people go get herpes these days."
I smile, kill the last few bears, and my fingers come to a rest.
Friday, March 5, 2010
The Juggernaut, Bitch.
I don't speak ill of most avid fans of various things, because I know that I'm a fanboy myself. Not of very many things, but the fact doesn't change.
The biggest/most obvious thing is Coheed and Cambria. I've seen them something like ten times live, I own all albums, the Neverender: Children of the Fence special set, both mass produced live DVDs, the fourth album on vinyl, and a number of shirts and posters. My copy of Good Apollo Vol. 1 is signed by the whole band (old drummer, not Chris). I own the comics that explain the story... all of them, even the ones out of print for the last four years. I have no shame in enjoying this band so much, and I don't feel I should. I love the music, the attempt at a story rubs my geek glands in an appealing way, and the live show are usually more brutal than heavier acts and other genres of music. I have no reason not to love them.
Unlike most other fanboys, I'm not blinded by how much I adore them and their music to see when something isn't good. While I hold that there's no such thing as a bad Coheed show, there are bad shows for Coheed. I've been to shows that weren't as good performance wise, and the crowd definitely noticed. There's one song on the earlier albums that I don't like. Just one. It's not a bad song, but it's too pop-hooky for me. I'm not deluded into thinking that Claudio Sanchez shits gold bricks with platinum crusting on the outside, whether or not it seems that way sometimes.
They have a new album coming out soon, Year of the Black Rainbow. The title's a bit lame, but so far the songs are amazing. They've decided to present a viral press-drumming by releasing various things at the end of 20 timers counting down days, hours, et cetra. Five have hit their goals, two of them songs from the new album.
"The Broken" is a bottom heavy, straight forward song that has a very heavy feel to it. Some lyrics go beyond the plot's limitations and actually reach out like a song is supposed to. Most of their work does, but sometimes it comes out forced for the melodies. "The Broken" has a few lovely lines that I'll probably bastardize down the line and turn into tag lines and titles for posts. The song has a weird balance of shredding faded into the background and hook melody to ensure it's stuck in your head. The song is catchy, made me smile, and sets a nice precedent for the rest of the album.
"Here We Are Juggernaut" is the official single for this album, even though "The Broken" could've easily stood on it's own. "Juggernaut" is a conglomeration of the Second Stage Turbine Blade and In Keeping Secrets of Silent Earth: 3 albums, along with a fat bass sound reminiscent of late Smashing Pumpkins songs. It features some of the lowest vocals Claudio Sanchez has ever recorded, likely a side effect of age and smoking.
"Juggernaut" is a good song, but it hasn't really grown on me yet. Granted, it's only been out for five hours, but usually I go ape-shit by now. I love the IKSSE3 lead work for the choruses, and the SSTB breakdowns between verses. I dig the bass sound, and the drums seem tastefully bland besides Chris Penne's amazing kick drums and tom roll leads. I don't think it's really hit me yet, maybe. Maybe the blend of awesome parts is just too strange to be easily absorbed. That's probably bad (sales wise) but it shows a lot of artistic integrity to release something that's as likely to not be well received as the lead single. Especially when it's already known that you have other songs that would be better as singles. Then again, they did this with the last album too.
"The Running Free" is my least favorite song on No World For Tomorrow. My two favorites were both performed before the album's single was ever picked, and those live leaks gave them huge acclaim. "Mother Superior" and "Gravemakers and Gunslingers" are both much better choices for singles, but "Running Free" got picked instead. Worst song on the album, even though it's still a good song. Same way that "Blood Red Summer" was somehow a single, when it's the only song from them I can't really enjoy. Still a good song, but it's not good for a Coheed song. Like the whole album St. Anger was to Metallica. Actually, the entire decade of the 90's for Metallica barring S&M (because live albums with orchestras are automatically exempt from suck).
So maybe Juggernaut will grow on me. I hope so, there's too much cool shit going on for me not to enjoy it eventually. It just doesn't feel like it had the guidance it should've.
The biggest/most obvious thing is Coheed and Cambria. I've seen them something like ten times live, I own all albums, the Neverender: Children of the Fence special set, both mass produced live DVDs, the fourth album on vinyl, and a number of shirts and posters. My copy of Good Apollo Vol. 1 is signed by the whole band (old drummer, not Chris). I own the comics that explain the story... all of them, even the ones out of print for the last four years. I have no shame in enjoying this band so much, and I don't feel I should. I love the music, the attempt at a story rubs my geek glands in an appealing way, and the live show are usually more brutal than heavier acts and other genres of music. I have no reason not to love them.
Unlike most other fanboys, I'm not blinded by how much I adore them and their music to see when something isn't good. While I hold that there's no such thing as a bad Coheed show, there are bad shows for Coheed. I've been to shows that weren't as good performance wise, and the crowd definitely noticed. There's one song on the earlier albums that I don't like. Just one. It's not a bad song, but it's too pop-hooky for me. I'm not deluded into thinking that Claudio Sanchez shits gold bricks with platinum crusting on the outside, whether or not it seems that way sometimes.
They have a new album coming out soon, Year of the Black Rainbow. The title's a bit lame, but so far the songs are amazing. They've decided to present a viral press-drumming by releasing various things at the end of 20 timers counting down days, hours, et cetra. Five have hit their goals, two of them songs from the new album.
"The Broken" is a bottom heavy, straight forward song that has a very heavy feel to it. Some lyrics go beyond the plot's limitations and actually reach out like a song is supposed to. Most of their work does, but sometimes it comes out forced for the melodies. "The Broken" has a few lovely lines that I'll probably bastardize down the line and turn into tag lines and titles for posts. The song has a weird balance of shredding faded into the background and hook melody to ensure it's stuck in your head. The song is catchy, made me smile, and sets a nice precedent for the rest of the album.
"Here We Are Juggernaut" is the official single for this album, even though "The Broken" could've easily stood on it's own. "Juggernaut" is a conglomeration of the Second Stage Turbine Blade and In Keeping Secrets of Silent Earth: 3 albums, along with a fat bass sound reminiscent of late Smashing Pumpkins songs. It features some of the lowest vocals Claudio Sanchez has ever recorded, likely a side effect of age and smoking.
"Juggernaut" is a good song, but it hasn't really grown on me yet. Granted, it's only been out for five hours, but usually I go ape-shit by now. I love the IKSSE3 lead work for the choruses, and the SSTB breakdowns between verses. I dig the bass sound, and the drums seem tastefully bland besides Chris Penne's amazing kick drums and tom roll leads. I don't think it's really hit me yet, maybe. Maybe the blend of awesome parts is just too strange to be easily absorbed. That's probably bad (sales wise) but it shows a lot of artistic integrity to release something that's as likely to not be well received as the lead single. Especially when it's already known that you have other songs that would be better as singles. Then again, they did this with the last album too.
"The Running Free" is my least favorite song on No World For Tomorrow. My two favorites were both performed before the album's single was ever picked, and those live leaks gave them huge acclaim. "Mother Superior" and "Gravemakers and Gunslingers" are both much better choices for singles, but "Running Free" got picked instead. Worst song on the album, even though it's still a good song. Same way that "Blood Red Summer" was somehow a single, when it's the only song from them I can't really enjoy. Still a good song, but it's not good for a Coheed song. Like the whole album St. Anger was to Metallica. Actually, the entire decade of the 90's for Metallica barring S&M (because live albums with orchestras are automatically exempt from suck).
So maybe Juggernaut will grow on me. I hope so, there's too much cool shit going on for me not to enjoy it eventually. It just doesn't feel like it had the guidance it should've.
Sunday, February 21, 2010
Is there no world for tomorrow?
Vinyl is underrated in contemporary society. If it weren't, then I would not have been able to get Coheed and Cambria's No World for Tomorrow for less than $10. I'm not complaining that it was so cheap, but I do wonder how long I can pull things like this off for. The prices will either go up due to rarity, or the product will just cease to be. I hate that.
The analog and the hard copies of music will never fully die, as I've discussed previously, but that doesn't mean that all mediums will retain value long enough to exist. Just like how tech savvy families across the world have had to convert home movies to DVD from the original cassette, it's nearly time for people to convert their CDs entirely to MP3 and FLAC formats and drop them on DVDs. Some already have.
For this reason, I'm very strongly considering buying a turntable of my own. Vinyl albums and 45's only exist because of the insane popularity of DJs, perhaps more now because of DJ Hero. I know they're safe for a while longer, until a proper digital analog (such a silly expression) can fully replicate what a turntable and a nice beat can do. Most DJs don't even really scratch as much anymore, most just sample, loop, and program swatches ahead of time these days. I'd give it another ten years or so, with a decline until the end.
Right now I'd be using a turntable in the house, though not my own. It's likely that I'll get more vinyl down the line beyond what I've already got, and I don't foresee myself ever giving up something with so much inherent beauty. Even if I resort to vintage shops and thrift stores alone, I don't think I'm ready to let this wonderful medium die.
Besides all this, Travis' and Claudio's guitars scream for an older time without dating themselves. Why shouldn't they sound their best?
The analog and the hard copies of music will never fully die, as I've discussed previously, but that doesn't mean that all mediums will retain value long enough to exist. Just like how tech savvy families across the world have had to convert home movies to DVD from the original cassette, it's nearly time for people to convert their CDs entirely to MP3 and FLAC formats and drop them on DVDs. Some already have.
For this reason, I'm very strongly considering buying a turntable of my own. Vinyl albums and 45's only exist because of the insane popularity of DJs, perhaps more now because of DJ Hero. I know they're safe for a while longer, until a proper digital analog (such a silly expression) can fully replicate what a turntable and a nice beat can do. Most DJs don't even really scratch as much anymore, most just sample, loop, and program swatches ahead of time these days. I'd give it another ten years or so, with a decline until the end.
Right now I'd be using a turntable in the house, though not my own. It's likely that I'll get more vinyl down the line beyond what I've already got, and I don't foresee myself ever giving up something with so much inherent beauty. Even if I resort to vintage shops and thrift stores alone, I don't think I'm ready to let this wonderful medium die.
Besides all this, Travis' and Claudio's guitars scream for an older time without dating themselves. Why shouldn't they sound their best?
Wednesday, December 9, 2009
Year of the Black Rainbow: A Fanboy's Expectations
It should come as no surprise that I am a fan of progressive rock, comic books, and science fiction. It should be less of a surprise then that my favorite band is Coheed and Cambria. It's not an obsession, like with other fans, but it is a very healthy fandom. I've seen them live (about) ten times, met the band once, met the singer (Claudio Sanchez) several times after, and posted on the fansite on a regular basis for a long time.
It's not obsessive, there are people far worse when it comes to Coheed. As of yet I do not have any logos tattooed, nor have I changed my legal name to any character's surname. These things happen with this band, seriously.
I love Coheed because they play well, write well, and Claudio was ambitious enough to try to tell a four part science fiction epic over five albums. These songs are not all heavy handed geek drivel, and you don't need to know what's going on to enjoy them. Most fans are aware that there is a story happening, but don't know a damn thing about it except that "The Crowing" is some kind of character and a lot of bad shit happens in the third album. I was one of the fans who followed more closely, trying to figure out what was happening in each scene of the story. I own most of the comics that explain the story so far (I'm missing the second half of Amory Wars for now, but the trade will make up for the 3 issues from Vol. 2 that I don't have).
Two days ago the fifth album was announced for early next year, Year of the Black Rainbow. Like thousands of other fans, I'm pretty stoked. This album tells the beginning of the story, rather than the end (Claudio's a geek too, and from what I can tell loved Star Wars enough to do a prequel in homage. He also wore a Boba Fett hoodie for NY Comic Con.) It will hopefully explain a few dozen plot holes, fill in who the hell Coheed and Cambria are a little more (the band is named after two characters that die in the first album), and I believe push for a more metal approach to how they write.
The past two years have been spent mostly touring and promoting the previous album with metal bands. The bulk of 2009 was split between Slipknot, Heaven & Hell, and recording. The Slipknot show leaned more towards metal than any other time I'd ever seen them. The relatively short set was all of the heaviest things they'd had over the past 3 albums (Second Stage Turbine Blade was a much lighter album, despite the grim content. More later.) It was probably to cater to Slipknot's fans, but the tour with Slipknot at all was a shock to most. Heaven & Hell makes sense at least, as both bands have stronger individual musicianship than Slipknot, whom excel with band unity and coherence.
The other push I expect towards metal comes from the individual tastes in the band. Sanchez and Travis Stever (guitar) both have roots in metal, growing up with Iron Maiden (with a fanboy myspace shot of the two with Bruce Dickinson, which is fucking awesome), Dio-Sabbath (Heaven & Hell), and many others that were less referenced in interviews.
They have a wide musical palate, but metal is still in the roots. The current drummer, Chris Penne, also comes from a VERY progressive metal background as the former drummer for Dillinger Escape Plan. If you've never heard them, check out "Panasonic Youth." You'll understand what I mean.
Really it only seems like Mic Todd (bass) grounds them out, but he's also a guitarist by nature. Most guitarists will have a greater appreciation for metal than other musicians, and we already know he can play the shit out of it. He ripped up scales on an acoustic right before the Neverender shows (a four night series, each night is a complete album played from start to finish. Mic's stuff was before night two in New York), and is relaxed enough to run with what's going on while adding just enough to make it his own.
If you have never heard Coheed and Cambria's music before, there's a few things to note:
1) Lyrical content ranges from sappy love songs ("Wake Up," "Light and the Glass") to murdering children ("Time Consumer," "Everything Evil," "In Keeping Secrets of Silent Earth: 3"), to insane conversations with symbolic dogs and demonic bicycles ("Ten Speed [of God's Blood and Burial]," "The Hound [of Blood and Rank]") to things that no one really understands, but might be love songs about guns and basketball players turned characters ("The Velourium Camper I: Faint of Hearts," "33.")
2) Musically, the lyrics sometimes clash with the musical feeling. This paints an ironic sound scape that will have you singing along with things you wouldn't ever normally sing to. "Ten Speed" and "Faint of Hearts" are wonderful examples of this.
3) The story becomes very post modern towards the end, in an Animal-Man like shift where the Writer of the story becomes a character in themselves. It's a confusing story that is not fully fleshed out in the songs, leaving room for interpretations. That's what hooks people who are into this sort of thing.
4) Live shows are brutal for a band that is not always/usually all that heavy. People leave these shows with broken faces and trampled legs. I had to pull my girlfriend through a sea of people at Roseland Ballroom's show a few years ago to keep her from getting pulled under and trampled to death (great show.) They are worth seeing live despite the personal danger, as they perform better live than on the albums.
A final thought before doing something more productive than having a fanboy rant: Since they're huge Dio fans and he was recently diagnosed with cancer, I suspect that the reference to Rainbow in the new title is homage to him. If this is the case, then I think Ronnie (James Dio) would be/is honored and proud.
It's not obsessive, there are people far worse when it comes to Coheed. As of yet I do not have any logos tattooed, nor have I changed my legal name to any character's surname. These things happen with this band, seriously.
I love Coheed because they play well, write well, and Claudio was ambitious enough to try to tell a four part science fiction epic over five albums. These songs are not all heavy handed geek drivel, and you don't need to know what's going on to enjoy them. Most fans are aware that there is a story happening, but don't know a damn thing about it except that "The Crowing" is some kind of character and a lot of bad shit happens in the third album. I was one of the fans who followed more closely, trying to figure out what was happening in each scene of the story. I own most of the comics that explain the story so far (I'm missing the second half of Amory Wars for now, but the trade will make up for the 3 issues from Vol. 2 that I don't have).
Two days ago the fifth album was announced for early next year, Year of the Black Rainbow. Like thousands of other fans, I'm pretty stoked. This album tells the beginning of the story, rather than the end (Claudio's a geek too, and from what I can tell loved Star Wars enough to do a prequel in homage. He also wore a Boba Fett hoodie for NY Comic Con.) It will hopefully explain a few dozen plot holes, fill in who the hell Coheed and Cambria are a little more (the band is named after two characters that die in the first album), and I believe push for a more metal approach to how they write.
The past two years have been spent mostly touring and promoting the previous album with metal bands. The bulk of 2009 was split between Slipknot, Heaven & Hell, and recording. The Slipknot show leaned more towards metal than any other time I'd ever seen them. The relatively short set was all of the heaviest things they'd had over the past 3 albums (Second Stage Turbine Blade was a much lighter album, despite the grim content. More later.) It was probably to cater to Slipknot's fans, but the tour with Slipknot at all was a shock to most. Heaven & Hell makes sense at least, as both bands have stronger individual musicianship than Slipknot, whom excel with band unity and coherence.
The other push I expect towards metal comes from the individual tastes in the band. Sanchez and Travis Stever (guitar) both have roots in metal, growing up with Iron Maiden (with a fanboy myspace shot of the two with Bruce Dickinson, which is fucking awesome), Dio-Sabbath (Heaven & Hell), and many others that were less referenced in interviews.
They have a wide musical palate, but metal is still in the roots. The current drummer, Chris Penne, also comes from a VERY progressive metal background as the former drummer for Dillinger Escape Plan. If you've never heard them, check out "Panasonic Youth." You'll understand what I mean.
Really it only seems like Mic Todd (bass) grounds them out, but he's also a guitarist by nature. Most guitarists will have a greater appreciation for metal than other musicians, and we already know he can play the shit out of it. He ripped up scales on an acoustic right before the Neverender shows (a four night series, each night is a complete album played from start to finish. Mic's stuff was before night two in New York), and is relaxed enough to run with what's going on while adding just enough to make it his own.
If you have never heard Coheed and Cambria's music before, there's a few things to note:
1) Lyrical content ranges from sappy love songs ("Wake Up," "Light and the Glass") to murdering children ("Time Consumer," "Everything Evil," "In Keeping Secrets of Silent Earth: 3"), to insane conversations with symbolic dogs and demonic bicycles ("Ten Speed [of God's Blood and Burial]," "The Hound [of Blood and Rank]") to things that no one really understands, but might be love songs about guns and basketball players turned characters ("The Velourium Camper I: Faint of Hearts," "33.")
2) Musically, the lyrics sometimes clash with the musical feeling. This paints an ironic sound scape that will have you singing along with things you wouldn't ever normally sing to. "Ten Speed" and "Faint of Hearts" are wonderful examples of this.
3) The story becomes very post modern towards the end, in an Animal-Man like shift where the Writer of the story becomes a character in themselves. It's a confusing story that is not fully fleshed out in the songs, leaving room for interpretations. That's what hooks people who are into this sort of thing.
4) Live shows are brutal for a band that is not always/usually all that heavy. People leave these shows with broken faces and trampled legs. I had to pull my girlfriend through a sea of people at Roseland Ballroom's show a few years ago to keep her from getting pulled under and trampled to death (great show.) They are worth seeing live despite the personal danger, as they perform better live than on the albums.
A final thought before doing something more productive than having a fanboy rant: Since they're huge Dio fans and he was recently diagnosed with cancer, I suspect that the reference to Rainbow in the new title is homage to him. If this is the case, then I think Ronnie (James Dio) would be/is honored and proud.
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