Album Review: Neverender - Night IV

now playing: Coheed and Cambria - Feathers (Live at Neverender)

While I'd love to continue the trend of going into the story, the truth is that not even the people at Cobalt and Calcium are all that sure what goes on in Good Apollo, I'm Burning Star IV, Volume II: No World for Tomorrow. There's a definite end, to be sure: Claudio Kilgannon finally confronts Wilhelm Ryan and ends the Keywork, as has been fated. But it takes the entire album to get to that point, so just what's been going on? Who is the Hound of Blood and Rank? Is the little back porch lady someone we know? And just what is the change that's finally come? Hopefully the upcoming prequel album will shed some light on this, but I'm not counting on it.

Neverender - Night IV is definitely my favorite of all the performances. It starts with the crowd screaming "Raise your hands high!" in the album's title track; that keeps up to the final strains of "The End Complete V: On the Brink", which does not go on for 18 minutes but is impressive nonetheless. Ever since I started listening to Good Apollo II, I knew that one day I would have to hear these songs live. It's the hardest-hitting of any of the band's albums for me, with "Feathers" (which took time to grow on me), "No World for Tomorrow", and the always popular "Gravemakers & Gunslingers" sticking out the most. I've already given my thoughts on "Justice in Murder" and "The End Complete" in other posts; even though it's live and I really do like live performances, I find it difficult to sit through 30 minutes of disjointed music. I feel at some points the audience does, too. If I could turn off this album after "Justice in Murder" (or perhaps "The End Complete II: Radio Bye-Bye", which I actually can stomach more often than not), I would gladly do it, to be honest. Despite that, Neverender - Night IV still stands as my favorite performance in this grand work. The crowd fills in the gaps more often than not, whether Claudio asks them to or he just runs out of breath. And I think at this point, we all know my thoughts on crowd vocals.

I've gained something from this series of reviews, I think. I've had the story of the Amory Wars explained to me in summarized form, yes, but this is the first time I've actually gone out and tried to comprehend just what's going on. And so far? SSTB is still a little incomprehensible, but I've developed a new appreciation for IKSSE:3 and even the latter half of Good Apollo I. I doubt Coheed's albums are ever going to stop growing on me, which means longevity in their future. And keep in mind that they do still have one more album to go: A prequel, taking place long before Coheed, Cambria, and Jesse existed as characters. If it keeps up this pace, I expect even better things.

The Second Stage Turbine Blade: B-; Neverender - Night I: C+
In Keeping Secrets of Silent Earth: 3: B+; Neverender - Night II: B+
Good Apollo, I'm Burning Star IV, Volume I: From Fear Through the Eyes of Madness: A-; Neverender - Night III: A
Good Apollo, I'm Burning Star IV, Volume II: No World for Tomorrow: A+; Neverender - Night IV: A

I'd like to thank Cobalt and Calcium for their analysis of the story of The Amory Wars. Coheed and Cambria will be playing a short tour in late May; you can find dates and get tickets on their official website under the Tour tab.

Album Review: Neverender - Night III

now playing: Coheed and Cambria - The Willing Well IV: The Final Cut (Live at Neverender)

Good Apollo, I'm Burning Star IV, Volume I: From Fear Through the Eyes of Madness brings us into the world of the Writing Writer, who is responsible for penning the story we've been following so far in the previous two albums. (His world is possibly better known as our world.) The Writer is slowly going insane, tormented by visions of casting his ex-girlfriend into the ground, burying her alive. His visions continue in the form of Ten Speed, a demonic manifestation of a bicycle the Writer had when he was a child. Ten Speed brings the Writer to the realization that he's placed his ex, Erica Court, into the story as Ambellina. The only way to end the visions and regain his sanity, Ten Speed says, is to kill off Ambellina. Though the Writer initially resists, after realizing that he is the one in control of the story and he is more than able to kill whomever he wants, resolves to listen to Ten Speed's words and go through with killing the manifestation of Erica Court. Meanwhile, in the Keywork, Claudio Kilgannon begins begging to God, asking what he did to deserve this and just how he's supposed to accept his destiny. He and the Writer both come to the realization that they must end the Keywork to end the suffering, and as Claudio approaches the House Atlantic, the Writer approaches the Willing Well, a full-length mirror that serves as a portal between the two worlds. The Writer joins our battle, already in progress, and assaults Ambellina. Claudio attempts to use his abilities as the Crowing to stop the Writer, but is unable. It's pretty impossible to kill God, after all. The Writer explains his motivations to Claudio, and the album draws to a close with one final cut. Told you it gets confusing. Cobalt and Calcium, as always, has more on the story.

Neverender - Night III begins the parts of the Amory Wars story I enjoy most. My first exposure to Coheed and Cambria was "Welcome Home", appearing on Rock Band. It had been so long since I'd heard accessible modern rock with guitar work like that; I was immediately hooked. (In fact, I think that song is the reason I like prog as much as I do now.) Even if I initially thought that Coheed got royalties based on the number of words in the title, I picked up Good Apollo I anyway and never looked back. I didn't know about the storyline at the time; I just had a bunch of really great songs that didn't leave rotation on my iPod for months. Listening to the album performed live brings more nostalgic feelings, which are always welcome. And since I am so familiar with the studio album, the imperfections that add flavor to the performance are that much more noticeable. This is not necessarily a bad thing! I like getting to hear the band's mistakes. I'm still not entirely sure what happened in "The Lying Lies & Dirty Secrets of Miss Erica Court" that caused Claudio to start early and miss a couple lines, but there's a very human element there that you just won't get in a studio.

Something else you won't get in the studio is the technical proficiency displayed in the 18-minute jam of the final song of the night, "The Willing Well IV: The Final Cut". Unless you're some sort of combination of Jethro Tull and Peter Frampton, you won't be able to get away with dueling talkbox and theremin solos from Claudio Sanchez, guitarist Travis Stever, and a guest keyboard player on a studio album. And it would take some sort of love child of Keith Moon and Neil Peart to justify former Dillinger Escape Plan drummer Chris Pennie's blistering seven-minute drum solo. Overall, Good Apollo I is even technically amazing live. If IKSSE:3 is where the band started to hit their stride, Good Apollo I is a near perfection of their sound. I still enjoy Good Apollo, I'm Burning Star IV, Volume II: No World For Tomorrow better, but that's a review for tomorrow night.

Album Review: Neverender - Night II

now playing: Coheed and Cambria - Blood Red Summer (Live at Neverender)

In Keeping Secrets of Silent Earth: 3 begins by taking us ten years into the future. Claudio Kilgannon has had time to grow, and Jesse, a character introduced as the Prize Fighter Inferno in The Second Stage Turbine Blade, has had equal time to grow his rebel army, with which he can depose Supreme Tri-Mage Wilhelm Ryan and Head General Mayo Deftinwolf and bring peace to the Keywork once again. If you think it's weird now, folks, just wait. One rebel, Sizer, is captured by Ryan's organization, the URA, and brought to the planet Shylos Ten, where he is tortured and left for dead. Claudio, waking from his ten-year slumber on Shylos Ten, meets Jesse, Sizer, and a new character, Ambellina. Claudio learns of his fate as The Crowing, the prophesied bringer of Armageddon. The four enlist the help of a freighter pilot named (surprisingly) Al and take his ship, the Velorium Camper, to the House Atlantic, Wilhelm Ryan's headquarters. Al hands them over to the URA, but can't bring himself to give up Ambellina and at the last moment helps the group to escape on Jesse's ship, the Grail Arbor, while he remains behind. The album closes with Claudio dreaming of what may have happened if he had been able to protect his parents the night they were killed. I'm actually leaving out some parts, so if you're curious to learn more, read up at Cobalt and Calcium.

With an instrumental flourish and thunderous applause, Neverender - Night II begins. Claudio Sanchez retains his astounding command over the crowd, not simply telling the story of Jesse in the title track but becoming Jesse, ordering the audience "Man your battlestations!" and receiving unwavering response. In fact, this night's performance is leagues above and beyond the previous night's with respect to audience participation. Even when Sanchez is left breathless, the crowd fills in the missing lines by heart, be it wordless vocalizations or Al's final words to Ambellina. Even though this album is not my favorite, I still find myself longing for the opportunity to have seen it live simply for the crowd participation.

As I listen to this live performance, and especially after writing out all that information about the story, I feel like this album is where Coheed and Cambria really began to hit their stride. SSTB was decent, but it lacked many of the things that I seem to identify the band with. Not the least of these things is the story itself. With a slew of new characters, conflicting motivations, and conflict in general, the songs in IKSSE:3 are strikingly diverse. This diversity draws attention easily and saves the album from sounding too generic, which was my major complaint with SSTB. Had the band's first album been my first experience with their music, I would have written them off as nothing more than generic rock. Fortunately, my first experience was with "Welcome Home", featured on Good Apollo, I'm Burning Star IV, Volume I: From Fear Through the Eyes of Madness, which will be featured in tomorrow's review of Neverender - Night III.

Album Review: Neverender - Night I

now playing: Coheed and Cambria - Everything Evil (Live at Neverender)

If you're not familiar with the idea of Coheed and Cambria, the simplest way to put it is that they are a concept band. Each of their four albums, beginning with 2002's The Second Stage Turbine Blade, falls in sequence, telling the story of Coheed Kilgannon, his wife Cambria, and their son Claudio. The Second Stage Turbine Blade specifically deals with Coheed and Cambria finding out that their genes house a deadly virus that, if triggered, could destroy everything holding their world in place. They have passed this virus on to their son, but his is a mutated strain with the power to destroy the entire Keywork, the main system of planets in this universe. Over the course of the album, Coheed releases the virus (catalyzed by a dragonfly's bite) and destroys the Star of Sirius that holds their current planet in its position, turning Paris: Earth into Silent Earth and leading quite nicely into the next album. It's really far more complicated than can be concisely expressed, but with help from Cobalt and Calcium, the premier Coheed and Cambria fansite, I think I can keep giving summaries of the story to precede the actual album discussion.

Neverender - Night I is simply The Second Stage Turbine Blade performed in its entirety. Admittedly, SSTB and the next album, In Keeping Secrets of Silent Earth: 3 are yet to grow on me as both Good Apollo albums have, so I don't think I can provide a completely accurate opinion on these two nights. But that isn't going to stop me! Claudio (Sanchez, not Kilgannon) is clearly very serious about his music, taking the time to ask the audience whether they want banter in between songs or simply to hear the album with no interruptions. (His reply to the audience after putting it to a vote? "You motherfuckers.") On a more serious note, Sanchez makes a clear point in the liner notes to say that he realizes this recording isn't perfect, but that he thinks it's better this way. I'm inclined to agree; a perfect performance of these songs would be unwanted, but by no means impossible. The greatest thing about live albums, I think, is getting the chance to hear how these bands sound outside of the studio. With Neverender as a whole, the band shows that yes, they know how to perform; I am firmly convinced, in fact, that the only studio magic on these albums is overdubbing, which is perfectly acceptable.

But more than that. The little imperfections show that Coheed and Cambria is a band that is not ashamed to be less than perfect. I like and admire that in live performances both on stage and in album form. It shows that the band can still take its music seriously without taking itself too seriously. (And once I get to some of the weirder things on the Good Apollo albums, you'll see what I mean.) It's not the only thing I like; in fact, I'm absolutely crazy about allowing the crowd to sing along. It brings these fantastic senses of nostalgia and involvement both at once. Neverender is full of these moments, but allowing the crowd to sing the chorus of "Devil in Jersey City" and yelling for the audience to join him in "Hearshot Kid Disaster" are the peaks of this night's performance for me.

I wish I could have written more about the specifics, but as I said, I don't really have any opinions on the songs themselves, so I can only comment on the performance. If I'm being completely honest, this album just sounds generic to me; I much prefer the exploration of themes and styles in the Good Apollo albums, which I haven't said enough by now, I'm sure. Check back tomorrow for my review of Neverender - Night II, a complete live performance of In Keeping Secrets of Silent Earth: 3.

What I Can't Stop Listening To: March 2009

now playing: Coheed & Cambria - Feathers (Glitch Mob Remix)

Now that this blog is finally starting to pick up steam, I've decided to include a new offering in this monthly article. It's an offering that requires its very own disclaimer, no less! I've decided to start providing a direct download of the songs mentioned in this article, to be found at the end of the article. Disclaimer: I have no vested interest, monetary or otherwise, in providing these links outside of exposing the readers of this blog to new music. I have acquired everything I provide legally and encourage others to do the same. With that said, here are the five songs I can't stop listening to for March 2009.

05) Coheed & Cambria - No World For Tomorrow (Live at Neverender)

When I first heard about Coheed's four-night epic telling of their story, "No World for Tomorrow" was the song I was most looking forward to hearing. Long-time readers should know I'm a sucker for crowd callback sections, and with the first line of the chorus as "Raise your hands high!", well. I might be a pretty bad Coheed fan, since I've only really gotten into their later stuff, but good or bad doesn't matter when you can get together with 14,999 other fans and, simply put, rock the hell out. I just wish I could have been one of the lucky few to see it live. But now that the CD/DVD set is out, I can be (sort of), and so can you. Pick up Neverender: Children of the Fence Edition on Amazon or just go for the DVD set if you don't feel like dropping $100.

04) Falconer - Lord of the Blacksmiths

I wrote a little about this song in my 100-Word Review of the album, but not as much as I would have liked. This song starts with a meaty riff that turns into high-speed guitar work, adds a fantastic bass hook in the chorus, and uses the double bass drums to accentuate the story of Hephaestus, godly armorer and lord of the blacksmiths. "But wait!" I hear you say. "That's not enough!" All right, how about a hammer striking an anvil in the last chorus? Does that drive the point home? I hate using this word because the internet has ruined its original meaning, but this song is positively epic. Enjoy it with me, won't you? Then check out Falconer's debut album on iTunes or Amazon.

03) Pat Benatar - Heartbreaker

I pose to you a question, dear readers. Pat Benatar: Great female singer of the 80s or greatest female singer of the 80s? There is a right answer, and it is of course the latter. Some might say "Love is a Battlefield" or possibly even "Hell is for Children" is her best song, but to those people, I say YOU'RE THE RIGHT KIND OF SINNER TO RELEASE MY INNER FANTASY! THE INVINCIBLE WINNER AND YOU KNOW THAT YOU WERE BORN TO PLEASE! As it should be obvious at this point that I have very little of substance to say about this song, let's just do the Amazon and iTunes plugs for In the Heat of the Night and move on, shall we?

02) van Canto - Fear of the Dark

With van Canto, I have possibly too much to say. Let's start with the obvious. Yes, this is a cover of Iron Maiden's "Fear of the Dark" as it first appeared on the 1992 album of the same name. What makes it special? van Canto is a band whose lineup comprises five vocalists and a drummer; that is to say, it's a cappella metal. I know, I barely thought it was possible, too, but these guys have filled a very selective niche very well. They have a few covers like this, including Metallica's "Battery" and "Wishmaster" by Nightwish, but most of their material is original. You can hear covers of Manowar, Blind Guardian, and Deep Purple alongside their original songs on Hero, available as an import on Amazon.

01) That 1 Guy - Buttmachine

This song by That 1 Guy apparently appeared on Weeds recently, but I don't watch that show, so I wouldn't know. I do know that he played a club in Boston recently and I am kicking myself for having missed it. That 1 Guy is a one-man band featuring Mike Silverman as That 1 Guy playing an enigmatic instrument known only as The Magic Pipe. Silverman constructs his songs as bizarrely as his instrument, and it works; "Buttmachine" is largely nonsensical, but still the greatest anthem to the gluteus since Trace Adkins' "Honky Tonk Badonkadonk". His albums follow the same pattern: Songs in the Key of Beotch is one of the best titles I've heard, but The Moon is Disgusting is where you'll be able to find "Buttmachine" and ten other songs. Pick it up on Amazon or iTunes.

You can download all five of these songs here (39MB). I'd apologize for sendspace, but it's my only means right now. I'll be sure to maintain the link if it goes down.

That's all for March. April will bring reviews of Coheed's Neverender and The Ghost Hounds' Vintage Trouble; if we're lucky, we'll also see Drist's The Science of Misuse. Until next time, keep your eyes on the skies.

What I Can't Stop Listening To: February 2009

now playing: Accept - Balls to the Wall

Hoo boy. It's been a while, hasn't it? Rest assured I still have a few more posts under my belt. There's a few very interesting albums coming out in the next couple months that are definitely deserving of review, including but not limited to the Ghost Hounds' debut album and a new EP from the Sterns. I've also got one review in the pipes for Canadian thrash/melodeath band The Agonist's Lullabies for the Dormant Mind. March will see a lot more activity; this I promise. But until then, here are the five songs I can't stop listening to for February 2009.

05) The Lonely Island - I'm On a Boat (feat. T-Pain)

You already know The Lonely Island, even if you don't realize it. These guys are the comedic geniuses behind the Saturday Night Live Digital Shorts "Dick in a Box" and "Jizz in My Pants". The SNL roots of this group (current cast member Andy Samberg and two writers, Akiva Schaffer and Jorma Taccone) has helped these three guys get some major star power, including Jack Black, Justin Timberlake, and Natalie Portman. "I'm On a Boat" is an anthem about how great it is to be on a boat. It also features T-Pain making love with AutoTune (and nautical creatures) to great effect. It's a simple concept that is completely vulgar and completely works. You can buy The Lonely Island's debut album, Incredibad, on iTunes.

04) Ben Folds Five - Alice Childress

I've known about this song for a while, but I went to a Ben Folds concert two weeks ago (which I plan to write about) that rekindled my love for this song. Is it the best song named after a girl that Ben Folds has written? I don't think so. But there's something about the harmonies in the chorus and the soft, quick piano solo that keeps me coming back. You can buy Ben Folds Five's debut album on Amazon and if you're lucky, you can catch the tail end of Ben Folds' current tour.

03) Fleetwood Mac - The Chain

Of course, what can I say about Fleetwood Mac's Rumours that hasn't already been said a million times over? Just because I'm not going through a breakup doesn't mean I can't enjoy the best breakup album ever made. Like many others before me, it's the chorus and the bass breakdown that keep me coming back to this song time and again. If you're one of three people in America who don't already own this album you can buy it on Amazon or iTunes.

02) Coheed & Cambria - Justice in Murder

I've had a lot of people tell me that "Justice in Murder" is the weakest track on No World for Tomorrow, but I have to disagree. Yes, it's simplistic, but I think that makes it easier to digest. Sometimes I don't have the mental wherewithal to take in a half hour of modern prog rock at its best, which is why "The End Complete" falls to the wayside in favor of this song. I'm not a particularly hardcore Coheed fan, but if you are, don't miss your chance to pick up the special edition of Neverender, a 5-DVD, 4-CD box set chronicling last October's four-night performance of the story of The Amory Wars in New York.

01) Repo! The Genetic Opera - Zydrate Anatomy

I feel positively dirty supporting anything that involves Paris Hilton singing, but this song is as addictive as the drug it describes. I haven't seen Repo!; this is the only experience I have with the movie, but what an experience it is. The bass hits hard courtesy of Rob "Blasko" Nicholson (Rob Zombie, Ozzy Osbourne) and what little guitar there is comes straight from Daniel Ash (Bauhaus, Love and Rockets). One listen to this song will have you telling everyone around you how zydrate is packaged for weeks on end. (It comes in a little glass vial.) You can get Repo! The Genetic Opera on Amazon in film and soundtrack form.

That about wraps it up for February. I'll see you guys in March with more reviews. Until next time, keep your eyes on the skies.