Thursday, October 14, 2010
"Paper cut my heart in half and discard the evidence"
1:49 PM | 
Posted by
Kevin
I've said before that Coheed was known for changing up styles and having unusual song structure. Thus far, I don't think this sort of musicianship is more noticeable than in the eighth song off SSTB: "Junesong Provision." The song seems to start off with the traditional verse, but once it's over it's apparent there's no chorus. Instead, it jumps straight into the second verse. Once that's over the rest of the song passes in a haze of bridges, varying so much it's almost a reflection of the turmoil present in the story.
It's also a reflection of the post-hardcore influence on the album. The entire song seems aggressive and loud from beginning to end, even in that last outro:
It's also a reflection of the post-hardcore influence on the album. The entire song seems aggressive and loud from beginning to end, even in that last outro:
"Wait for me, alright? I'm still a boy down there when you want to promise me that."
Aside from the aggressiveness of the music, the lyrics are also chilling. Story-wise, Coheed and Cambria have managed to escape the Red Army, but their ship is doomed to crash. In the meantime, the song focuses on their last remaining child, Claudio, who decides to evade whatever evil is targeting him and his family and leave behind his girlfriend, Newo Ikkin (whom he refers to as "Junesong") for her own safety. The song is basically his thoughts as he says a mental goodbye to her.
For a long time, "Junesong Provision" was my favorite off the album. So many times my favorite has shifted from one song to the next and it's just another reason why I love Coheed and Cambria so much. Some times I feel more in touch with one song and other times I'm into something different. On that note, even though this song is clearly revolved around the concept it's hard for me not to take it and apply it to my own life. I can't say I've been in a position where I've ditched my friends and family in some selfless effort to save them, but it makes me think about that situation nonetheless.
The song was also my favorite for a while because it was so much different from the usual song structure I've listened to most of my life. It almost sounds like several songs in one, and as such is an early example of the sort of music Coheed would produce in later records.
An acoustic version of this song was recorded long before the album even hit the shelves and it was placed on the 2005 remastered edition as a bonus track. Today, I present an old clip of Claudio playing this song. You can tell it's old because his hair is MUCH shorter:
I'd like to take this moment and just briefly say that this video is an example of why I appreciate Claudio as a singer and as a guitar player. Yes, his voice is quite high and may annoy some people, but being able to play that riff -- a combination of both rhythm and lead -- while singing so clearly is a remarkable feat. Enjoy the video, and stay tuned for the next review.
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2 comments:
I love your perception in all of these things. I don't do that often enough. But I really enjoy reading the way you see these songs! So fun!
I love this video. It makes me wish I had heard of Coheed when I was even younger. Its giving me goosebumps to hear Claudio singing, "Is it the dreams that make us real?"
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