It's easy to think "The Light & the Glass" is the last song off In Keeping Secrets of Silent Earth: 3. The back of the album lists it as so. On the first play through, one might be surprised therefore to discover twelve tracks that follow "The Light & the Glass" only to be surprised that these tracks are completely silent. They're not officially named tracks on the album, but they have collectively been titled as "A Lot of Nothing I-XII." However, the real prize lies at track number twenty-three -- "21:13".

The song is a continuation of the dream that the character Claudio has during "The Light & the Glass." Where that song was about Claudio desiring to see his girlfriend again, "21:13" is a manifestation of Claudio's thoughts about the night he came home to find his sister Josephine murdered, and the subsequent deaths of his parents. The line "When I fall asleep, your face is all I see" is repeated several times during the song, which indicates to me either Claudio seeing the face of Newo, or even his mother, Cambria.

Because the song is a re-enactment of that night, the band incorporated returning themes and riffs -- most notably the opening riff from "Time Consumer," as well as a rendition of "IRO-Bot" that ends the song and, ultimately, the album. To me, the return of these themes cements the band as storytellers. Themes and motifs are common elements in stories, and their recurrences are used for a reason. The use of these songs helps to connect IKSSE with SSTB seamlessly, reminding the listener that there is still a story here.

"21:13" is a typical progressive rock song. The song structure varies, as does the time signature. Elements of progressive rock were seen on the album's title track, but it was subtle. Here, however, the band lets loose their hard rock and progressive influences. As I pointed out long ago, it is important to keep note of this changing style in their music. The next record is especially rooted in progressive rock. In fact, if there's any genre can Coheed and Cambria can fall under, it's most certainly progressive. Aside from these elements, the band continues to show its liking for moments of rocking out. Several parts of the song contain moments where the band performs a full instrumental breakdown, one of which uses a highly catchy solo. One of my favorite moments is when the battle cry of the Crowing is heard. This scream gives me chills all the time.

Hands down, "21:13" is one of Coheed and Cambria's best and most well known songs. How anyone discovered this hidden track is beyond me, but since then it's become a popular and often used closer in Coheed concerts. Out of the three concerts I've attended, the first and only time so far I've heard this song was at my second show just this past May, where the band played it as their final song for the night. The atmosphere, the combined sound of everyone singing along to it especially at the "woahs", and the intensity behind the guys and their instruments makes "21:13" one of the most memorable tunes in Coheed's arsenal. No better ending could have been used for this album.

And today's post officially ends the review series for In Keeping Secrets of Silent Earth: 3. I'm really enjoying this project of mine. Next up on the reviews is the third Coheed and Cambria album. Until next time!

I immediately fell in love with "The Light & the Glass" the first time I heard it. Coheed and Cambria proved on SSTB that they were capable of playing slower acoustic songs, but at that time "IRO-Bot" was a different sort of acoustic style. With this song and in future acoustic songs, the guys showed they could write ballads -- the kind of tunes that bring you chills. The kind of tunes that have that melancholic feeling to them but still retain a quiet beauty. In the first time the guys try out their hand at this sort of style, we receive a near ten minute epic that seems to end the story of In Keeping Secrets of Silent Earth: 3 nicely.

Following the disaster that was the failed surprise attack on House Atlantic (though you wouldn't immediately know it considering the upbeat, bouncy tune of "A Favor House Atlantic"), Claudio Kilgannon escapes with his uncle Jesse, Ambellina, and the IRO-Bots Chase and Sizer aboard Jesse's ship, the Grail Arbor. Exhausted from their adventure, Claudio contemplates the destiny that lays before him -- the task of saving Heaven's Fence by destroying it. Unwilling and incapable of truly accepting this role, Claudio falls asleep and dreams of the events of ten years prior. He dreams of his girlfriend, Newo Ikkin, whom he had to leave behind when he escaped from Ryan's forces, and wishes he had given her a better goodbye before his life was destroyed. In short, it's a love song.

For some reason, I always picture this song as starting out with the gang sitting down as they play to the first couple minutes. It probably has a lot to do with how the song starts off soft and slow, with Claudio and Travis both playing accompanying lead riffs as Mic and Josh play softer bass lines and drum grooves. As the tempo increases and the distortion kicks in, changing seamlessly from acoustic instruments to electric, I suddenly imagine the full band standing up and rocking out.

The song actually ends before the nine minute mark, with the last minute or so of the song actually playing a rendition of the "time passage" theme as heard on "The Ring in Return." This is probably my only real issue with the song, although it's minor. Much as I love that theme and the rest of the song in particular, it feels slightly out of place with the rest of the song. Just a little side note.

"The Light & the Glass" remains among one of my favorite of all songs, not just Coheed songs. From beginning to end, each moment brings something new to me every time I hear it, mainly because I'm discovering new riffs or bass lines I hadn't heard before. From beginning to end, Claudio's singing gives me chills. From beginning to end, I feel like I'm at peace when I hear this tune. A fitting song to put at the close of the record after so much rocking out.

Next time: I review the final, hidden track on the album. Stay tuned!

It was sometime in early 2005. I forget the month specifically, but I would guess it to have been March or April. It was at least several months before September, that I know for sure. I was at my friend Robert's house, hanging out, when he called me over to his computer to show me a music video. We watched a near three and a half minutes of what looked like the strangest and weirdest music video we'd ever seen. What boggled me most was that the singer, who appeared to be a male, sounded close to a low-pitched female. I couldn't help myself -- I laughed. I laughed hard and couldn't stop for a while. That was all that was said about this, however. I left Robert's house that day without another word or thought. I passed off this band as a total joke.

Now, five years later, I'm wiser. That was the day I had my first experience with Coheed and Cambria, but I hadn't known it then. All I knew was that it was annoying funny music. As it turned out, the music video was none other than the video to the first single from In Keeping Secrets of Silent Earth: 3 -- "A Favor House Atlantic." Next to "Welcome Home", off the following record, this song is one of Coheed's most well known; not least because of Claudio's trademark vocal style.

The song's beauty lies in its simplicity -- a standard verse, chorus, bridge format that isn't overdone or underplayed. The band showcases their continued preference for guitar taking the lead in their compositions, but it doesn't completely overshadow the other instruments. Mic plays bass in a simple fashion that helps to keep rhythm. Most of his notes sync completely with Josh's drum work, in fact. Claudio and Travis stick to their preferred roles as rhythm and lead guitarist, respectively. Together, "A Favor House Atlantic" is the catchiest and typical "pop" song of the record. However, it stands alone as unique among pop songs because of its roots in the concept of The Amory Wars.

The journey to House Atlantic -- the headquarters of the Supreme Tri-Mage, Wilhelm Ryan -- has come to an end. The group prepares the task of taking down the villain once and for all. However, for reasons appearing to be nothing else than his own self interests, Al hands over the group to the United Red Army, betraying them. But, Al has not lost his humanity completely. His travels with Ambellina, however short, have shaped his desire for her into a sense of love, however twisted. Guilty over betraying her to Ryan's armies, Al has a change of heart. He uses his sharpshooting skills to pick off soldiers and allows the rest to escape from House Atlantic, knowing their planned surprise attack is useless at this point. Al gives a final farewell to Ambellina, somewhat jokingly saying "Bye bye beautiful, don't bother to write." However brief his appearance may be, it appears that Al has at least a heroic last stand.

And so, yet another attempt to thwart Ryan's twisted plans and save Heaven's Fence has been foiled.

I end this review today with the very music video I first saw five years ago. As I said, it's quite strange indeed.

As the little band of heroes continues its journey aboard The Camper Velourium, the music takes a slightly heavier tone. One of my favorite things about this series is how the music becomes progressively heavier and more aggressive from "Faint of Hearts" to "Al the Killer." In the second part to this series, "The Camper Velourium II: Backend of Forever" is quite the middle-ground in terms of aggression. It's very fitting, considering that the Camper Velourium series revolves around Al, the pilot of this ship. The songs in the series, as I explained in my last review, are how Claudio explains and develops this character. In the previous song we discovered Al's disturbing sexual obsession with his sniper rifle. In this song, we see a slightly more human side to him.

Enamored by the presence of Ambellina, Al begins to think back to all his failed relationships. It isn't surprising for him to be captivated by the Prise. The Prise are often spoke about with reverence and respect, and are known to be enchantingly beautiful figures. However, Ambellina finds Al distasteful and keeps her distance from him, focusing solely on her mission to guide Claudio. The scorn and rejection from Ambellina drives a certain wedge into Al's already twisted mind. The song juggles between Al's desire to pursue Ambellina -- more out of lust than any genuine love -- and his equally strong desire to ignore his feelings.


Musically, it's important that the song is slightly heavier than "Faint of Hearts." As the listener gets more insight into Al's character, we find that the story is taking on a darker and more twisted tone. And yet, the song is not without its lighter moments. The opening riff is a series of arpeggio-like notes played in sequence from high to low, and then repeated again. This style of riff playing, if it could be called that, would become a staple in what could be called the Coheed sound -- although many fans and critics tend to point out that there is no Coheed sound at all, as the style seems to change very often. It is important, however, to note that this method of note playing is in fact seen in Coheed and Cambria's later records.

I sometimes think this song is a chance for the guys to just rock out and have fun. At times it seems chaotic and messy, complete with Josh's erratic drum beats. Travis and Claudio switch up between rhythm and lead in various parts of the song, and Mic's bass lines are equally oddly placed. However, there's a bit of beauty in how this "mess" is played out.

And with that, I end with a message to the American readers out there: Happy Thanksgiving!