One of the best lines of the song is the repetition of "Your dreams can’t last forever!". Taken out of the story context, this line speaks a lot to me. How many of us have wanted our dreams to last forever indeed? It's a simple line that has its place in the story to be sure, but it also has a lot to do with the real world -- which just demonstrates, once again, how the story relates to reality. My absolute favorite part of the song (album version only) is how the last stretch of it fades out, only to jump back in at the very end with a rendition of the instrumental theme that started off the whole album. It's a very moving motif. As it is, many fans think this theme represents a sort of passage of time in The Amory Wars Saga, something I believe myself. 

Next time, I tackle the hidden, final track on this record and wrap up SSTB. Stay tuned!

Well, this was certainly much longer than I anticipated to make an update. On the bright side, my laptop is finally back! Actually, it has been since Monday, and as of this morning I've got all my programs and updates put back on. It's officially back to the way it used to be. And now that I'm back, it's time for another review.

The next song on this album is "Neverender." Like "Hearshot Kid Disaster" it's without a doubt on the coolest Coheed song titles ever. In fact, it was used as the title for a series of concerts the band performed a couple years ago, but I'll get into that some time later. The first thing I remember noting about this song when I first listened to it was the combination of rhythm and lead. This style has been prevalent in the earlier songs, true, however it was the first time I think I really noticed how common they are in Coheed's music.

Of note is also Mic's bass line. When I had first started listening to Coheed and Cambria, my music library was rather small. Most of the bands I listened to at the time consisted of bass players that generally just played as rhythm to the guitar, often playing the same notes *coughcoughNirvanacoughcough*. This isn't to say such is bad, but I admit that Mic's style of bass is a little refreshing. There are times where his bass grooves match the guitar to keep rhythm, but many times they also have their own notes to play while still keeping in time to the beat.

"Neverender" also consists some of the strongest bit of drumming from Josh Eppard yet. The first sound one will hear on the tune is a snare drum, followed up with some quick hi-hat and snare work. Like the bass guitar, the drums aren't just keeping the beat of the music; they are their own instruments and Josh shows it. What I've really appreciated about this record and this song in particular is how clear I can hear each and every instrument. It's pretty safe to say that I'm not missing anything.

Sadly, however, all of this strong musicianship doesn't seem to do it for me. Though a good song, something about "Neverender" just prevented it from really sticking with me in the same vein as "Junesong Provision", or the penultimate song off the record -- "God Send Conspirator" -- really do.

After "Junesong," it's clear this song is somewhat softer. Claudio's singing adds to this effect with lower vocals, some of which sound like a whisper at certain moments. With that said, the song revolves around Coheed and Cambria's son Claudio, who has fled his home world. By this point, Coheed and Cambria are dead (by exactly what means I still don't really know and won't until I get the comics). Unaware of their fates, Claudio writes them a note just before leaving. In contemplating the tragic events that have befallen his family he considers suicide before eventually falling asleep, vowing to someday take revenge.

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:

Indeed, it most certainly is all down hill. When we last left off with "Hearshot Kid Disaster," Coheed and Cambria had been captured by the Red Army and the Monstar virus within Coheed had been growing. It only gets worse from here.

In "33" the story is shifted onto a man named Patrick McCormick, whom I haven't really mentioned yet. Simply, he is Josephine's boyfriend. Or, was her boyfriend and would-have-been fiancee were it not for cruel, twisted fate. After taking Josephine home following her brutal rape, Patrick is the unfortunate witness to her murder by her own parents, naturally traumatizing the poor youth. Even worse, to tie up all the loose ends of these murders and to cover their hands in it, Wilhelm Ryan and his right hand man Mayo Deftinwolf send a minion known as an Onstantine Priest to "deal" with Patrick -- and all of this is going on even as the situation with Coheed and Cambria reaches its peak.

The funniest thing about this song is that it wasn't even written for the concept. No, like "Delirium Trigger" it has a place outside the concept. In fact, the song was originally written about NBA star Patrick Ewing, whose jersey number for most of his career was 33 while playing for the New York Knicks.


Like "Delirium Trigger" the song was also worked into the story. Personally, I always think this is a bit odd, because I'm still not sure what the number 33 actually has to do with the story. Some of the lines seem to reference a basketball game while others seem more in keeping with the story at hand, which is the weirdest part of all. Still, at least Claudio saved himself a world of trouble by creating a character named Patrick, especially since the song has a line that specifically says "Patrick, short flip and outside boundary lines." Good save, Mr. Sanchez, good save -- and I mean that in a good way.

Musically, I always thought this song was some long lost single that for some reason was forgotten about and tossed onto the record at the last minute, and there just wasn't enough of a following to really warrant the song to be a single. Which sucks, because I think it should have been one. Listen to it if you get the chance and you might see what I mean. Stylistically, it's apparent that the song is rooted  from Coheed's early days as Shabutie -- there are some differences -- which just goes to show the band's ability to change up sounds over the years. It's also further indicative of their ability to make something violent and dangerous sound upbeat thanks to the rhythm of the music. Then again, as it was originally about a basketball superstar, perhaps this isn't so surprising. Still, it's part of what makes Coheed and Cambria such a great band, in my opinion; the awesome storytelling and how it syncs with the music behind it.

This song has been in my "Running Playlist" for a while. That is to say, I listen to it when I go running. It works for that situation; it's quick, feels like events are moving fast, and there's plenty of action going on. Perfect for any adrenaline-inducing moment.

I may need to start doing a couple of these a day, because at this rate I won't be done until next year -- but then again, it would mean keeping me busy if I only posted one a day. Anyway, it's time to move on with this song review series. Next on our list is "Hearshot Kid Disaster" -- quite possibly one of the coolest song titles ever. Not only when I hear this title do I feel that shit has hit the fan, I also feel like headbanging every time I hear this track.

In the sixth song off SSTB, our heroes Coheed and Cambria (the characters) are now on a quest to dismantle the Red Army, the villain Wilhelm Ryan's personal iron fist. They realized they've been lied to, the memories of their former lives have returned, and it's now time to take the fight to Ryan himself and end the threat to Heaven's Fence once and for all. Unfortunately, their quest is marred by capture. The two are confined and held hostage, and something even worse is about to unfold. Coheed has been feeling the effects of the Monstar, a terrible virus that, when triggered, would spell certain doom for Heaven's Fence and mark the eradication all life.

And like some other songs off this record, it's amazing how Coheed and Cambria (the band) can take something as violent as this and make it sound upbeat and catchy. I know I've been repeating that a lot in these reviews, but it's true. The opening chug of the guitar and the subsequent noisy lead in the first 30 seconds of the song offer a slight contrast to the softer sounding "Delirium Trigger." The lyrics reflect this in a way:

I've never heard the song live before, save for what can be found on YouTube. It's quite spectacular, and the opening lead is even more noticeable live. It's safe to say that even though the song sounds upbeat, it was meant to be chaotic, reflecting the violence and madness that's depicted in this part of the story. The simplest answer that can be said about this song is that shit is getting real and all is going to hell, a perfect segue into the next song: "33."

Back with another review tonight! I apologize out front that I'm not able to get a review going at least once a day like I had hoped, but unfortunately with my laptop still having issues this is proving difficult. The only reason I'm able to be here now is because I'm using my brother's computer. So, kudos to him. Anyway, enough of my rambling.

Remember when I said there wasn't a single Coheed and Cambria song I didn't like? Well, I meant that. I also said that in spite of liking every song, there are some I don't like as much as others and would probably willingly skip over. I meant that as well. Thus, the moment has come for me to review what is one of my least favorite Coheed songs.

I realize this could get me a lot of shit and would irk many, as "Delirium Trigger" is very much a fan favorite and some would say it's one of the best songs of Coheed's career. I will point out that the only time this song doesn't do it for me is when I'm listening to the album version of it. I'm sorry, it just doesn't. I suppose the problem is that I loved the first three tracks so much and thought that were so upbeat that the intro to this song kills me a bit. Forgive me. HOWEVER, I again stress that I still like the song, and sing along to it when I'm in the mood for listening. That being said, this sing kicks a lot of ass when played live. I've been to three Coheed shows so far and the first time I heard it live -- not including watching videos of the song -- was at my most recent show. The simple answer is that it blew me away. It sounds epic, heavy, and so much better live.

Putting aside the music of the song, I will admit that the lyrics are some of the most unusual thus far in the album, and that's unusual in a good way. First, they're just plain awesome:


Aside from just sounding badass, there's also the imagery behind the lyrics. Lines such as "Static on the intercom, can someone save us?" and "Parasitic cyst, I can't stand to watch/It's coming up and out of your chest" clearly invoke science fiction imagery, and thus is keeping with the concept behind the story. It should be noted that "Delirium Trigger" was first written by Claudio Sanchez when the band was called Shabutie (which is uttered by Claudio in the opening to "Devil in Jersey City"). At that time, the concept of Coheed and Cambria was actually a side project of Claudio's, and if my knowledge serves me correctly, the song had little to do with the story elements of The Amory Wars. However, it was re-worked into the concept.

The song has good and bad moments for me. I don't feel I could explain it well enough; I suppose it's just one of those moments where it just doesn't seem to work. Nevertheless, the song remains a favorite among many. I feel comforted knowing that even if it doesn't satisfy me it satisfies the majority, and that's what matters. Though it's no where close to my favorites, I would eagerly look forward to hearing this song again at a concert.

Imagine screaming that line alongside hundreds or perhaps thousands of similarly screaming fans. Or, maybe belting out the last lines of that unforgettable outro:

When I first heard the opening seconds of "Devil in Jersey City" -- the third track off SSTB (short for Second Stage Turbine Blade) -- I had to stop listening. I admit it, I had to. The singing was just so high-pitched it caught me off guard. I shuddered thinking how much the rest of the album would be like this. I should point out that my first experience with this album and with this song was via the band's MySpace page where, at the time, this was the only song off the album they had up. Thus, I had not heard "Time Consumer," "Delirium Trigger" or any of the others, and so I could not really make a well-informed opinion of the song in relation to the rest of the album just yet.

After not listening to the song for a little while I realized that, in spite of the vocals, the opening riff hooked me even in those brief fifteen or so seconds that I listened. That chug of the rhythm guitar being handed out by Claudio Sanchez, the upbeat lead by Travis Stever, the groove of Mic Todd on bass, and Josh Eppard's quick bass and snare work all made me want to go back and listen, and really give the song a better chance. I had listened to and grown to love their third album, which was the first Coheed record I ever experienced, and I wanted to be able to appreciate the rest of their music.

The long story short is that by the end of the song I got over the vocals. They still bothered me a bit (call me shallow if you want, but it took me a while to like Claudio's singing), but I had a new found appreciation for the music. Quickly, it became the top favorite and most played song in my then small Coheed library. Though I wouldn't say Coheed's third album never had poppy hits, this was a far different style of pop and it appealed to me. In fact, I noticed there was even a slightly different style altogether with the song in comparison to their later work. Not to say that bands don't change, but this was different. Keep note of this, as this change becomes a big part of their career.

I love this song and it has a special place in my heart. It's upbeat and catchy from the beginning chord to the last note and that last bit at the end ("When you run, they'll follow you") gives me pleasant chills every time.

It's also funny for me to call this upbeat considering the story element of the song --  namely, the rape of a character named Josephine by a gang called the Jersey City Devils (see what Claudio did there with clever song title naming?) and the subsequent murder of the same character by her own father! I wish I were kidding, but that's the story. There is a self-justified reason for him committing such an act on his own daughter, although it turns out this was all an elaborate lie by the bad guys to achieve domination. Good stuff, huh? Overall, I believe it showcases the band's sense of humor, albeit twisted; that is, the ability to turn something serious and traumatic and make it sound positive through a style of music.

And I end this with review with a brief shot of the band playing this song in 2006 at the Glass House in Pomona, CA:

I'm rather disappointed in myself. I had planned to start reviewing these songs much earlier than this but I had almost little to no drive in doing it. My laptop also picked a really bad time to no longer be able to charge and I had to send it out to the other side of the country to get it fixed. So it became difficult to even begin to work on any review.

Thankfully, my brother has been kind enough to let me use his laptop at times until my own gets back. I'm in a better mood than I have been in a while, and it's long overdue (for my personal satisfaction, anyway) for this thing to get underway. With that, I begin with the first two songs from Coheed and Cambria's The Second Stage Turbine Blade.

Since the first song is really short, I'm coupling it with the second song in this review. The first track is entitled "Second Stage Turbine Blade," a short instrumental that perfectly captures the essence of what Coheed and Cambria would become. The piano interlude is, at the same time, eerie and beautiful. Later albums will show that this tune is actually half of what would eventually be considered a sort of theme song to the story behind Coheed's music -- the story of The Amory Wars.

There's not much else that can be said for the opening title track except that it leads smoothly into the next song, "Time Consumer." This song is a fan favorite for good reasons. One, it's catchy from beginning to end. The opening riff of the song just seems to reflect a fantasy-like atmosphere, further enhancing the story qualities of the concept of the music while at the same time just being so upbeat that many fans including myself love to bob their heads around in time to the beat when listening to this track. Second, it works so well as an opener on live shows. Search for any live video of this song; the energy given off by both the band and the crowd is fantastic.

Lyric wise, the song is pretty complex. In fact, many songs off this record have some dynamic, somewhat unusual style of lyrics. However, that can probably be expected when a record has a science-fiction tone to it. It reeks of the story, with many lines directly alluding to characters and relevant themes. It's without a doubt part of the reason I enjoy Coheed so much. Many times, their songs are strictly related to the story and at other times the concept isn't as noticeable. This is one of those moments where the song is just pure story all the way through and the result is amazing.

Unfortunately, this is not the best I believe I can do. I know I could do better in writing a song review, but I'm still slightly having a case of writer's block and I really wanted to write this tonight. The most I can say is that this is just such a great track it's hard to find too many bad qualities about it. I suppose the only issue would be that Claudio's voice is certainly quite high-pitched and cracks at times -- factors which may lead some to be completely turned off by his voice. I can say with certainty, however, that he has much more control over his voice now than he ever did back in 2002. This is one of his best performances singing wise.

Overall, when one progresses through Coheed's music catalog in the order of album releases, this song showcases the band's talent as musicians even from an early start. The song structure is varied, the rhythms are there, the instruments can be heard clearly and thus show each member's skills. Great track, great opener.

As I mentioned yesterday, it's time to start my series of song reviews. As I also said, I'll be starting with Coheed and Cambria -- beginning with their first album and ending with their most recent release. I'll start with an overview of the album, and post each song in turn. With that...

*Drum rolls*


First on the list: 2002's The Second Stage Turbine Blade. For the record, yes, Coheed's albums do have some strange titles, but they're concept albums and they sound cool. The production on the album is a bit raw in comparison to later albums but that hardly diminishes the quality of the record. In fact, many Coheed fans would be quick to say that it's because the production is so raw that it makes the songs so great. I happen to agree with this statement.

Even on this first album, the band shows off great talent as musicians. The structure of songs varies quite often from the usual verse-chorus-verse-chorus-solo chorus routine. The guitars are multi-layered, the bass lines are groovy, and the drums showcase individuality from the other instruments while still keeping rhythm. Story-wise, the album acts as the second chapter to The Amory Wars, and themes such as love, death, the importance of family, and even destiny are found in the concept of the album.

The following are the tracks: