By Leo Gomon
Western Sun staff writer
Coheed and Cambria has always been a fairly odd band, with a seeming identity crisis. The band’s early work was very pop oriented, including catchy hooks and short, to the point songs, followed by a heavier phase, with heavier guitars, solos, lengthier arrangements and a larger sound. Their last release “The Black Rainbow” saw a shift into more electronic influences and ambient production.
With their sixth album, “The Afterman: Ascension”, Coheed and Cambria showcase the most progressive album of their career.
Consisting of nine tracks, the album is underwhelming in length, at only 39 minutes. However, this is only part one of a two part album project, the second of which will come out in a few months. The song arrangements and musicianship is more reminiscent of old school, 70’s prog, in the vein of King Crimson with less distorted guitars.
The addition of new bassist Zach Cooper is noticeable and returning drummer Josh Eppard proves to be a dependable and solid backbone for the band.
“Subtraction” and “Mothers of Men” are the two standout tracks on “The Afterman: Ascension”. Usually, vocalist Claudio Sanchez delivers an annoying performance on the mic, yet this time around his voice is much more tolerable and less cringe worthy, as are the lyrics.