Archive for the 'Album Of The Week' Category

Marilyn Manson – The High End Of Low

Marilyn Manson - The High End Of Low

After the sheer and utter crap that was Marilyn Manson’s last effort, ‘Eat Me, Drink Me’ – I had all but given up on ever getting to hear anything decent from the Manson camp again.

When word filtered out that he was back together again with sidekick Twiggy Ramirez/Jeordie White who had been in Nine Inch Nails for the past few years – my curiosity was piqued enough that I wanted to see what the end result would be. Hearing a couple of the leaked tracks such as ‘We’re From America’ et al, I was once again, feeling genuinely excited about a new Marilyn Manson album again.

Boy, were my expectations shot to hell when I actually got to listen to this thing.

It’s such a plodder of monumental dross proportions. A bore of an album that becomes painful to sit through as you try and cling to some sort of highlight… some sort of spark to maintain any sort of interest.

It starts off well enough. ‘Devour’ kicks things off nicely but just as the song starts to get really interesting and dare I say it, catchy. it all ends in a sudden stop and pours itself into follow up track ‘Pretty As A ($)’. Again, a decent track and better than anything he’s had on offer for a while.

And then… it all get so stupid and as already stated… dull. Painfully dull!

I wanted to like this album so much. I was so eagerly awaiting its release and had extreme faith that ole Marilyn could pull one more classic from his hat… instead, he pulled out a boring, pretentious turd from his ass. (Seriously, go listen to the track ‘WOW’ and tell me with a straight face that its a decent track!)

Sucks!

Marilyn Manson - The High End Of Low

Heaven & Hell: The Devil You Know

Heaven & Hell: The Devil You Know

Beyond the shadow of any doubt, Black Sabbath are one of the greatest bands to have walked on this Earth. They single handedly created the genre known as Heavy Metal and have a career that has lasted decades. But when one really dissects the band’s original classic line-up of Ozzy Osbourne, Geezer Butler, Tony Iommi and Bill Ward – after the first 5 masterful albums – it went all downhill. Fast. In a sea of booze, drugs and debauchery – the mighty Black Sabbath was a shadow of its former self and very much on life-support.

When Ozzy was replaced in 1980 by the diminutive Ronnie James Dio – the band was once again reborn and spawned some of the most amazing and classic albums of the Metal genre: ‘Heaven & Hell’, ‘The Mob Rules’ and the often maligned ‘Live Evil’ are as classic and timeless as those first 5 slabs of Sabbath goodness – if not better.

So whilst Ozzy has been relegated to the role of bumbling idiot on yet another stupid television show ‘The Osbournes Reloaded’ – the rest of the band have gone on to create more magic in the form of Heaven & Hell’s ‘The Devil You Know’.

It was with great anticipation I was awaiting the results of this collaboration. When the band wrote three new songs for ‘The Dio Years’ compilation a couple of years ago, the resultant output pretty much picked up where the band left off after 1992’s brilliant (and often overlooked) ‘Dehumanizer’ album – which was the last recorded output from the Dio, Iommi, Butler, Appice version of Black Sabbath.

And here we are.

After all the musical chairs that has been Black Sabbath throughout the 90’s and after the highly successful reunion with Ozzy – we have come to the moment of truth where we are finally getting new output from Sabbath – albeit under a different monicker – it is still very much a Sabbath album.

And a classic album it is. Reminding me more of ’92’s ‘Dehumanizer’ than the masterful ‘Heaven & Hell’ and ‘Mob Rules’ albums of the early 80’s – ‘The Devil You Know’ pretty much kicks things into gear and is one solid track after the other. The Lord of the Riff, Tony Iommi delves deep and has procured some classic doom-laden riffs that would even have ole Lucifer himself reaching out for the tennis racquet.

First single ‘Bible Black’ is as close to a Sabbath classic as you can get. Intertwined with Dio’s soothing vocal stylings in the intro, it twists into a monster of a song with that repetitive Sabbath guitar and bass bludgeoning along to Appice’s merciless BOOM-CHUCK-BOOM-CHUCK beat. Fucking insane! Fucking INSANE! This is what a juggernaut sounds like! This is what it sounds like when an irresistible force meets an immovable object. BANG!

And if that wasn’t enough it all pours into the next track ‘Double The Pain’ which ups the tempo slightly and chugs along again with a riff that only the Devil himself could muster out of an aging Gibson guitar. Iommi just shines and delivers riff upon riff with also some of his best lead guitar work in ages.

It is difficult to compare this album to the brilliance that was ‘Heaven & Hell’ and ‘Mob Rules’. You’d be crazy to. But geez, it comes close and is still a superbly crafted, sinister, mindfuck of a release and one that has not left my iPod for over a week.

Geezer Butler: ‘If We’d Written This Album With OZZY, We’d Still Be Working On The First Track.’ – And there endeth the sermon!

Heaven & Hell: The Devil You Know

Prodigy – Invaders Must Die

I had all but forgotten about Prodigy. Their last album – ‘Always Outnumbered, Never Outgunned’ – was several years ago and it was an album, that by their lofty standards – was a little on the disappointing side. To be perfectly honest, the latest album ‘Invaders Must Die’ totally crept up on me and I wasn’t expecting much. In actual fact, I thought the old Prodigy had all but run their race.

‘Invaders Must Die’ is the Prodigy’s fifth album and the first to feature the classic Prodigy line-up of Liam Howlett, Keith Flint and Maxim Reality since 1997’s brilliant ‘The Fat Of The Land’. And that’s not the first classic thing one notices about this fine slab of plastic! This is such a welcome return to form and brilliant old-school Prodigy stylings! This thing reeks of attitude, spunk and raw electrical, technical power and balls! This is everything that is so damn cool about the Prodigy and will surely rank as one of the finest albums for the year. Easy!

Strong throughout it’s 11 tracks, the album just gets better and better from the halfway point through to the end. Melodic, intense, exciting, raw and indeed energetic – it exudes a certain attitude and flair that most harder-edged acts can only begin to dream of.

Smack it up bitches! A fucking classic!

Lamb Of God – Wrath

Lamb Of God - Wrath

Ok, I did the ‘illegal’ download thing a couple of weeks back when this sucker finally hit cyberspace. This mob are easily one of my fave bands and I desperately wanted to hear what was on offer this time round. (Don’t worry I bought an advance copy through Roadrunner last week – still waiting on my bonus tee shirt tho!)

On first listen, I felt bitterly disappointed. It all just sounded so one dimensional and bland. The whole thing seemed devoid of any sort of dynamics or melody in any way, shape or form and I was beginning to worry. Hmmm, first listen blues I thought. I’ll give it a few more goes and we’ll see how we go.

Rightfully so, after a couple more listens, I was beginning to get into it a little more. In fact, I was starting to dig it. I mean, sheesh, these guys are a fucking legendary band and as stated previously, easily in my top 10. How could a Lamb of God album possibly suck? Right? Riiiight???

But here is the predicament: I’ve listened to it a few more times since starting to get into it but at the end of the day… I’m finding it all rather dull. There’s no real memorable fist-punching, mosh-inducing tracks. It all sounds so ’samey’ and sterile. I’m finding I just can’t really get into it as I have with past releases from these guys. Where are the riffs? Where are the cool leads? (Bar the nice Ace Frehley sounding lead on ‘Set To Fail’). Sigh!

I may need to devote even more time with it, but I just don’t want to have to force myself to like it. Who knows, I may feel differently in a week or two – but today, right now, this very instant… this album sucks and I guarantee that after all the dust has settled and we’re a couple more albums down the track – even the band themselves will admit, Wrath is their weakest moment.

Lamb Of God - Wrath

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Satyricon – The Age Of Nero

Satyricon - The Age Of Nero

To state the bleeding obvious, Black Metal as a musical genre, has always been a strange beast. On the outside it has a look of menacing insanity. Intense visuals and controversial blasphemous overtones that one would expect to hear the Fallen One, Lucifer himself pour out of the speakers. But the opposite is true. In most instances it sounds banal, juvenile and is almost often a parody of itself. Seriously, how many more music videos can one watch of a bunch of pansy, pasty faced dweebs in their ‘corpse paint’ running amok through the cold forests of Europe singing incoherant screeches into ram skulls? And all the while, said dweebs think that by playing as fast as is humanly (or otherwise) possible makes their music ‘Heavy’. Power and dynamics are thrown completely out the door. Melody is about as welcome as your local vicar and song structure is as rancid as a nun’s twat. In short, it comes across as weak and lacking any sort of musical substance.

But for the gazillion wannabes trekking the snow covered extremities of Northern Europe, the blood spattered cream always rises to the top. And at the top awaits Satyricon.

In this age of the digital download, music has become a disposable commodity. No one takes the time to fully ingest an album… to learn its secrets, to listen out for notes and all sorts of musical nuances. It has to be a pretty special release to keep one interested for more than a few listens yet Satyricon’s ‘The Age of Nero’ has hardly left the iPod. This is the finest Black Metal release since Celtic Frost’s brilliant Monotheist of a couple of years ago. In fact in places, it reminds me a lot of Frost’s stylings.

‘Last Man Standing’ has an awesome Celtic Frost groove and feel. Throughout the course of the track one keeps expecting to hear the mighty Tom Warrior gives us his obligatory “Oooh!”. The track has such an old-school Black Metal feel permeating throughout. Killer riff which repeats and repeats over a steady and slow beat. Just insane mosh material here!

There is hardly a weak moment on this album which kicks off with three gems, the brutal ‘Commando’ seeps menacingly into ‘Wolfpack’ and when you’re barely coming up for air it all leads wonderfully into the first single ‘Black Crow On A Tombstone’!

This is all beginning to reek of ‘Album of the Year’ for yours truly, and that’s a stench that brings a smile to one’s face.

Satyricon - The Age Of Nero

Metallica – Death Magnetic

Metallica: Death Magnetic

I think the days of anticipating a Metallica release are long gone. They died back in the mid 90’s when Messers Hetfield, Ulrich, Newstead and Hammet posed in front of the cameras with hair neatly cropped and blankly looking down the barrel of a camera and stating… “We were never a Metal band…”

Umm, ok. Yeah.

It’s been downhill since then. Rapidly. In short, they lost the plot. Big time. And in a weird sorta way, I have wanted them to regain their glory and majesty. After all, I have followed these guys since their fledgling demo days of 1982 when every forthcoming release of theirs was a bona fide classic album. Album after album in the Eighties was such an amazing music-buying experience.

Those days are gone. Long gone.

I’m trying to like this. I’m really trying. And wanting. Wanting to feel genuinely excited about a Metallica release, but the sad truth of the matter is – I just don’t care anymore. Which is not to say that this is a bad album, far from it. It is probably the best we can expect from these guys any time soon.

There are some good moments throughout. There’s plenty of bludgeon-riffola to rock out the sternest ‘Tallica critic, even if one has to subject themselves to the blandest drumming in the Metal genre. (sorry to harp on it folks, but Ulrich’s drumming is a freaking joke. I’ve never encountered a drummer who annoys me so, maybe McBrain from Iron Maiden – two of the most overrated skinsmen in the business) – but I digress!

Having said that, there is also some dross. ‘My Apocalypse’ is dire. ‘Unforgiven III’… Come on guys, enough already. Add to that some stupid Hetfield vocal stylings and a veritable feast of oh-so-boring Kirk Hammett leads.

I just can’t hear Rick Rubin’s influence in this and I was genuinely interested when it was first mentioned he would be helming this project. He’s done some mindblowing things with Metal acts in the past (System of A Down, Slipknot et al) but some of these songs on Death Magnetic are a little bloated for my liking.

I dunno! It’s ok I guess. Just ok. Now, where’s my Opeth album?

Metallica: Death Magnetic

Alkaline Trio – Agony & Irony

Alkaline Trio - Agony & Irony

One of my most played albums of the past few years has been Alkaline Trio’s ‘Crimson’. I can’t even begin to put into words just how much I love that disc and it would easily ranked as one of my most listened to opus’. Having said that, I was on tender hooks waiting for the band’s new release. ‘Crimson’ hit the stores way back in 2005 and the band were well overdue for some new tunes. Sure the Trio graced us with the obligatory ‘Best Of-cum-B-sides/rarities’ colleciton in 2007’s ‘Remains’ disc, but seriously that just wasn’t enough to tide this fanboy over.

And so after what seemed like an eternity waiting for new tuneage, Alkaline Trio have been very much hard at work. The result is ‘Agony & Irony’. Enlisting the help of producer Josh Abraham who has erstwhile twiddled the knobs for Linkin Park and Velvet Revolver, to name but a few. It all sounds lush and grand as one would expect, and its tinged in the obligatory Alkaline Trio darkness (afterall, two of the guys are proud members of the Church of Satan). However, I found that this release hasn’t floored me as much as the aforementioned ‘Crimson’. Which isn’t to say that this isn’t a good album. In fact, it is a wonderful slab of catchy and smart pop-punk tunes that will hopefully garner the band a larger following. The usual morbid fascination with death, love, evil, is still permeant throughout the band’s imagery and lyrics and none more-so prevalent than in the first single ‘Help Me’ – a tribute to lead Joy Division crooner, Ian Curtis.

Unfortunately the band gets lumped with all the Emo and pseudo Punk bands that are proliferating the mainstream but there is so much more to Alkaline Trio. Much more.

This is a great album but I feel it just doesn’t quite go near to the magic of the band’s previous releases in ‘Crimson’ & ‘Good Mourning’. They’re gonna have a monster smash one day soon, but it isn’t going to be with this one.

Alkaline Trio - Agony & Irony

Nine Inch Nails – Ghosts I-IV

Nine Inch Nails - Ghosts I-IV

It is incredibly difficult to put into words a review of the latest Nine Inch Nails release… ‘Ghosts I-IV’. In its vastness and scope and the mere fact that this is a veritable slab of over two hours of music… where does one even begin to analyze individual tracks or key moments in this Reznor opus? Add to the fact that there are no track identifiable track names – it all adds up to a unique and fresh listening experience. I absolutely adore what Reznor has accomplished here as I have always preferred his more experimental work. There is so much on offer here. So much style, technique, haunting ambience and emotion. It is all so grand yet at the same time, there is an element of rawness permeating throughout each track. It is going to take a long, long time to fully digest just what has been unleashed here.

The entire ‘Ghosts’ experience was all incredibly rewarding. I can’t recall such a buzz over a new release and the digital methodology that was used to deliver this music to the masses. These are exciting times for genuine music fans and genuine artists such as Trent Reznor/Nine Inch Nails who are actively seeking out new ways of doing things. Everything from the initial overworked servers and the moment of finally downloading the music (legally and intact as the artist wished) – to even managing to score the $300 Deluxe Edition as yours truly did – just added to the entire experience that was/is ‘Ghosts’.

Nine Inch Nails - Ghosts I-IV

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Coheed & Cambria: No World For Tomorrow

Coheed & Cambria

With bassist Michael Todd and drummer Josh Eppard leaving the band mid-tour, things were looking a little hazy for Coheed & Cambria. After enjoying the success and massive buzz of their previous albums ‘The Second Stage Turbine Blade’ (February 2002), ‘In Keeping Secrets of Silent Earth: 3′ (October 2003), ‘Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness’ (September 2005) – the band was in a precarious position as it was about to begin work on the ‘Good Apollo, I’m Burning Star IV, Volume Two: No World for Tomorrow’ album. But as luck would have it, bassist Todd returned to the fold and former Dillinger Escape Plan drummer Chris Pennie took over the drummer’s stool. Due to contractual obligations Pennie was not able to play on the album but Foo Fighters’ skinsman Taylor Hawkins appears in his place. Coheed & Cambria play a complex but infectious brand of Progressive Rock that is simply littered with melodic hooks and harmonies that leave you wanting more after each and every listen. Couple all this with some classic guitar riffing and lead crooner Claudio Sanchez’s high pitch Geddy Lee-esque vocals and you end up with (yet another) amazing Coheed & Cambria album! Yet amongst all the prog-rock craziness, there are some brilliant pop moments as these guys have an uncanny knack of writing what is catchy and memorable all at once. Standout tracks for me right now are ‘The Running Free’ and title track ‘No World For Tomorrow’. Bottom line, it’s a Coheed & Cambria album and with that in mind, you are guaranteed a multitude of glorious melodies, serious riffage and the continual nerd-nirvana of the three album space-rock-opera that has even made it onto the pages of a comic book! Geek bliss!

Coheed & Cambria

Celtic Frost: Monotheist

Celtic Frost: Monotheist

Holy Mother of God! Celtic Frost’s newly released ‘Monotheist’ has not only exceeded my expectations, it has completely blown me away and refused to leave my iPod and iTunes. On heavy rotation, it permeates the office and home airwaves as I will not play anything else but this fucker! I had thought Celtic Frost all but dead – their glory days buried deep and far away somewhere in the mid to late 80’s. Even though the band’s origins spawned out of the (awful!) Hellhammer back in 1984 (they were so bad back then you just had to take notice!) they reformed as Celtic Frost and released the wonderful ‘Morbid Tales’.

With the rest of the metalsphere trying to mimic the fledgling Metallica and trying to play at ridiculously fast speeds, Celtic Frost took a different approach. Haunting, catchy Sabbath-esque riffs filled their repertoire. Always experimental and even operatic in places, infinitely evil and sinister, the Frost were a unique and cathartic band that were busy creating a sound uniquely their own. No one sounded like them. No one had the balls to pull off such an album as the gloom-ridden opus ‘Into The Pandemonium’. Which other Metal band would even attempt a cover of Wall of Voodoo’s ‘Mexican Radio’ and do it so magnificently? And here we are, years later – Celtic Frost have returned with quite possibly one of the finest releases for 2006. I can’t even begin to put into words just how good this album is. Innovative. Fresh. Atmospheric. Brutal. In this Metalcore (ugh!) world we currently live in where every band tries to out-muscle every other band by screaming and growling like a carbon-copy of eachother, it is refreshing, so refreshing that a band like Celtic Frost are back with an album so sinister, so macabrely evil that they are going to take the Metal world by the scruff of its collective neck and send it to hell!


Celtic Frost: Monotheist

The Classics: Cheap Trick – Dream Police

Cheap Trick: Dream Police

I grew up on the music of the mid to late 70’s. Particularly the great Rock bands that were destroying cities across the US of A. Kiss, Ted Nugent, Van Halen, Aerosmith and the mighty Cheap Trick.

These were the bands I was cutting my teeth too. These were the bands that as a mere child I would learn to drum to. My parent’s couch in our old home took a pounding until that fateful day when dad finally bought me my first drum-kit. By then, I could play any drum pattern by my heroes of the day – Peter Criss of Kiss and the enigmatic Bun E. Carlos of Cheap Trick. I could play any of their songs – and probably could to this day although I haven’t drummed professionally since 1990, hanging up the sticks for good to move onto greener pastures. But I digress, that is all another blog post for another day.

One slab of vinyl that the stylus of my stereo wore down (Oh God I feel so damn old!) completely was Cheap Trick’s ‘Dream Police’ album.

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The Classics: AC/DC – Back In Black

The Classics: AC/DC - Back In Black

In June 2005, the Recording Industry Association of America announced that ‘Back In Black’ has sold 21 million copies in the USA alone making it the best selling hard rock album of all time next to Led Zeppelin IV. What is astounding to take into account is that five months before the release of the album, the band’s enigmatic and gloriously boisterous lead singer Bon Scott was found dead in a parked car in London.

Never one to turn down a drink Bon Scott had every reason to be in a celebratory mood on the evening of February 18, 1980. The band were one of the biggest exports out of Australia having cracked the English and European markets and had made it big in the USA with the brilliant 1979 release ‘Highway to Hell’. The recording sessions for that albums successor were just about to begin. In early February, the Young brothers, Angus and Malcolm had met up in a rehearsal studio in London (E-Zee Hire) to begin some pre-production work on the new album. As the duo were churning out new riffs on their guitars, in walked in Bon Scott who asked the duo if he could play drums for them whilst working on the new tunes.

In the ensuing jam session the trio worked on songs that later became ‘Have A Drink on Me’ and ‘Let Me Put My Love Into You’.

At the end of the session, the trio decided to meet back in a week. Bon said it would give him time to come up with lyrics for the songs. Bon Scott said his goodbyes and left the studio. It was the last time Angus and Malcolm Young would ever see him.

A few days later, Bon was dead.

AC/DC's Bon Scott

On the evening of February 18, 1980 Bon Scott went out to catch a few bands and have a few drinks with friend Alistair Kinnear. The pair took Kinnear’s Renault to the Music Machine in Camden Town where they wound up getting completely wasted on Scotch Whiskey with Bon allegedly drinking quadruple shots straight from a tall glass.

At the end of the night Kinnear drove the passed-out singer to his apartment. Bon was completely out cold in the passenger seat and unresponsive to Kinnear’s efforts to wake him. This had happened many, many times before and Kinnear called Scott’s girlfriend Silver Smith for some advice. She told Kinnear to take some blankets down to Scott and leave him sleep it off in the car.

The next morning when Kinnear went down to his car, he found Bon twisted around the gearshift and cold to the touch. Bon Scott was pronounced dead on arrival at Kings College Hospital; the coroner’s final verdict was “Death by misadventure: acute alcohol poisoning.” The coroner also found that he had asphyixiated on his own vomit after his neck twisted in the night. At the time of his death, the international press made false accusations about a drug overdose. Whilst Scott did have previous interludes with narcotics (which included a heroin overdose in 1975), no traces of illicit substances were found in his system by the coroner. Bon was 33 years old.

A few days later, on Wednesday February 20, the news reached Angus, Malcolm and the rest of the band who were stunned and shocked to their collective foundations. The mourning was not only for Bon Scott but also for AC/DC. Many speculated that this was the end of the band as such a blow would see them never to recover after losing such a key member.

Scott’s body was flown to Fremantle, Australia for burial. His father took the Young brothers aside and urged them to continue with AC/DC. “It was Bon’s dad who more or less convinced us to get back into it,” Angus recounts. “He said to me and Malcolm, “Listen, Bon always loved what you two guys did. It was the first time I ever saw him truly happy and loving what he was doing. I’m sure if something had happened to one of you two guys that Bon would have carried on. You guys should get out there and find someone, and just keep going.”

AC/DC's Bon Scott's final resting place
Bon Scott’s grave: Fremantle, Perth, Australia

“Our management at the time, they kept recommending singers, asking if we wanted to see anyone or listen them,” Angus remembers. “But Malcolm kept saying to me, ‘We’ll do it when we feel we’ve got all our music together. The rest can wait!’ We didn’t want to be rushed into anything. We knew we were never gonna find a clone of Bon; we wanted someone who would be their own character.”

Enter… Brian Johnson. Legend has it that an AC/DC fan in Chicago sent AC/DC’s management a tape of Brian singing in his band Geordie. The tape came with a note suggesting that Johnson would be an appropriate replacement for the deceased Scott. Producer Mutt Lange who’d produced ‘Highway To Hell’ heard the tape and agreed.

“We were looking for someone who was just like ourselves,” Angus explains. “Someone who could have a laugh and could tell a joke.”

AC/DC's Brian Johnson

“The first song we did was ‘Whole Lotta Rosie’, because I love that song and I used to do it with Geordie,” Johnson recalls. “I was a huge fan of Bon Scott’s – a real sleazy voice!”

“We’d done a few tracks with Brian in rehearsal and recorded it,” Angus remembers. “When we sat and listened to it later, we knew he had a great voice and could work with the material we had.” On April 8 1980 – just over six weeks from Bon’s death – Brian Johnson was introduced as AC/DC’s new lead singer.

A week later – the Back In Black recording sessions began at Compass Point Studios in the Bahamas.

“We knew we were going to call the album Back In Black even before we began recording,” Angus says. “Malcolm and myself pretty much agreed that we wanted the cover black, as reference to Bon.

And in tribute it stands forevermore…

Source: Classic Rock magazine, Revolver magazine, Wikipedia

Coheed & Cambria: In Keeping Secrets of Silent Earth

Coheed & Cambria

It’s proving to be a great time to discover some of the lost gems of 2003.

This month has proven a sure fire hit for catching some great new bands that I didn’t get round to hearing throughout last year. This week however, the band that has refused (and I do mean refused!) to leave the iPod is Coheed and Cambria.

Online magazine ‘Reason Y’ summed it up perfectly: “Coheed and Cambria are not really an emo-core band. Nor are they really punk, or hardcore, or some metal hybrid, although there is much of all of these styles in their music”

Hailing from New York City, the band got their name from two characters from a comic book that is being written by frontman Claudio Sanchez. (he’s the one with the Krusty the Clown-like afro and the main creative force of the band!) The overall story-line of the comic book is about a married couple, Coheed and Cambria, who are on a mission to save the universe in the post-apocalyptic sci-fi love story. Trouble ensues, however, after a virus inside Coheed’s heart (a Mon-Star) becomes awakened by a serum which was injected by a magical dragonfly. Coheed is suddenly forced to battle the Mon-Star inside him as he now has the power to either save or destroy the universe.

Sanchez, in a recent interview explained the writing process for the current album: “Usually on our time off, I’ll go home and use that time to sit at an eight track and just record ideas. For this record I recorded all the songs acoustically on an eight track and showed them to the guys while we were on the road, and they all came up with their ideas in the van. Pretty much, I’ll write the original guitar part and melody and we’ll go into the studio and kind of just jam out on it until we construct a song and arrange it among the four of us”

Coheed and Cambria are a strange band. A very strange band but don’t let that stop you from checking their incredible sound out. You can’t quite put your finger on their sound. Sure there are strong traces of ‘Emo-core’ and even ‘Progressive Rock’. Man, in places these guys sound like a young Rush. If the drum patterns on this disc were on the technical/Neil Peart side – you’d swear you were listening to Rush circa 1975!

There aren’t too many bands in this commercial pap day and age where songs are over 8 minutes long. But just when you think you have these guys figured out – they spring forth an infectious melody you’ll be humming in your head long after the song has finished.

And how do the band themselves describe themselves? Here is an excerpt from the band’s official bio: “What is rock and roll? Is it a look? Is it a dead legend that has been beaten and bruised by attempted revival? Is it based on individual perception, and defined differently by all? Does any one really know? Does anyone really care? This whirlwind of confusion blown down from the gods of rock above may perturb us at times, but there is hope in it! It is an ongoing force, holding places for new faces and sought-after sounds. Are you a part of this rock and roll confusion? Do you spend 50 dollars each time you step into Tower Records or your local Indie Rock superstore, but wind up with only 10 dollars worth of satisfaction? If you do it must be easy to relate to what I am saying. Its that unnerving feeling you have after buying four brand spanking new cds that almost make you ill with disappointment. With so much new music to be heard, and so little to be satisfied by, the gods of Rock seem to spit in our face all too often. At times it feels to me as though they are spitting in my eye as a reminder to be patient, and soon the goods will come. Where are the goods? Time is moving ever so fast and I want to get down while I am young! Well the answer is not blowing in the wind! It is not right under our noses! It is all up to the artists! We are all at the beginning of a story that will be continued on and on until our Rock and Roll has completely recovered from the illnesses of the past. So let this be a message to each and every Indie rockin, straightedge Hard Core representin, hip hop hurrayin, Emo or grind coring personality out there! There is hope!!! It lies within us!”

Amen to that!