Coheed and Cambria

Coheed and Cambria truly are carnival freaks of the progressive metal world. Their latest album offering, “No World For Tomorrow”, is a conclusive rollercoaster ride of instrumental highs, curving along a distinctive pop arc that sets it apart from the crowd. This album is the end of the story, the final chapter in the saga of Coheed and Cambria Kilgannon, the main characters in the twisting tale that has wrapped all of the band’s previous records into one.

The thirteen tracks of this album are individual and expressive – This is Coheed and Cambria doing what they do best. A fusion of classic and progressive rock, guitar wankery and vocal distortions, “No World For Tomorrow” is an experimental and lyrically complex record. Claudio Sanchez, vocals, guitar and main lyricist, admits himself that he has allowed real events of the past few years to affect the lyrical content of the album.

What strikes me first is the use of unusual time signatures. This is particularly emphasised in “The Hound (of Blood and Rank)” and also in “The Running Free”, two fine examples of the musical complexity this band are capable of. The song “Feathers” shows clear influences of classic rock, and the lustrous guitars and vocals of the homicidal track “Justice in Murder” really add variation to the overall effects of the album’s story. My personal favourite is “Mother Superior”, although it may be a little too long for its own good. The chorus builds up to an invigorating climax and one of the most powerful moments of the album.

Although I wouldn’t add Coheed and Cambria to a list of my favourite bands, from a musical point of view I can tell why they have such a huge fan base. These are not only talented musicians, but also storytellers with an epic tale to weave.

Kat Humphries