A to Z of Making It, Classic Songs to Be Discovered, Influenced, Music, Unsung Heroes

The Record Vault: Coheed And Cambria – The Color Before The Sun

The album came out in 2015 and it’s the only non-conceptual album the band has released and easily there most accessible. Then again, with each release their old emo hard-core and metal roots got less and less as some prog rock influences came in and then classic rock.

I got the limited edition, deluxe box set which includes two CDs, the album and a disc of demo tracks, plus two hardcover books, one featuring album lyrics and artwork and another featuring a “behind-the-scenes look” of the album’s creative process, plus an in-studio DVD, and a clear 7-inch record of unreleased demo tracks.

I also got a custom house key, a lapel pin, a certificate of authenticity; as well as exclusive, members-only access to new music, videos, concert tickets, merchandise and commentary from the band to a special website that requires a log in and all that.

“Island”

The acoustic single note riff to kick off “Island” is addictive. It reminds me of Rush and “The Spirit Of Radio”(not because the riffs sound the same, but because of its feel) and then a riff which reminds me of “Jessie’s Girl” kicks in with the same single note riff in distorted played over it. It’s upbeat and poppy, but lyrically the song deals with doubt and about “getting off the island”, in which this case the island is a metaphor for the comfort zone of our lives or the war we have within our head about starting something new or staying with the old.

I live inside this head, and I’m at war
Hero and villain, Same type, keeping score

“Eraser”

It has a groovy bass played in the verses and drums which dominate.

Oh Middle age, bring me a crisis
What am I worth, does the truth hurt?

Yes what are we worth and what are our lives worth. There’s nothing like age to get you reassessing and re-evaluating. In this case, Claudio wants the clocks to be turned back to the way things were.

I’ve been nostalgic recently, maybe because I am watching “Sopranos”, but when I think to turning the clocks back to the past, it might sound exciting, but I don’t want to live in a world with a few channels, no internet or slow dial up internet and listening to music based on purchases instead of leasing.

“Colors”

I lost myself along the way
Restless nights mixed with purposeless days
Counting forward, taking steps
To a better man, the one you can live with

The song deals with changes like selling a house, moving to a new house and spending time away from family. And until you get settled again, it takes weeks maybe months before you make sense of it all.

“Here To Mars”

It’s in the stars
And you’re my everything from here to Mars

A very upbeat love song from Claudio to his wife Chondra, like “Blood Red Summer” upbeat.

Make sure you check out the interlude section from 2.18 to 3.02 as it builds up into the Chorus again as Claudio sings, “I will never let you go”.

“Ghost”

The acoustic guitar riff keeps repeating like a metronomic grandfather clock. The song is simple, as Claudio’s vocal harmonies carry the song.

“Atlas”

That you’re the weight of his anchor,
The love that is guiding him home,

Written for Claudio and Chondra’s son, Atlas.

“Young Love”

The song is an apology to The Big Beige, Claudio’s old house in New York. And for those fans who always wondered why the demo releases are called the “Big Beige” versions, well it’s because he did them at home.

I like the repeating guitar lick.

“We leave for the coast/In the wrong hands/You where bruised, disposed”

I like the ending, as at it transitions into “You Got Spirit, Kid”.

“You Got Spirit, Kid”

It’s the first single released for “The Color Before The Sun”.

The plastic king of castle polyethylene
Go on, time to be a good little pig

Cause when the rug gets pulled out from underneath
Just embrace the fall
Oh you got spirit, kid
You’re number one
Go on living that farce
Cause nobody gives a f… who you are

Manufactured pop stars don’t have a long shelf life which is a shame, because there is talent there, but it’s never given a chance to be its own beast as others control it. And when it all goes bad, the people who control just move on to the next wannabe. In other words, you will come to a point in life when you realise that the problems you see as big aren’t that important in the grand scheme of things.

There is a nice little Pink Floyd jam at the end which makes an amazing segue into “The Audience”.

“The Audience”

This song became a favourite instantly with its Tool like groove. Just listen to the music in the verses. The guitars play an intricate riff, the bass syncs up with the bass drum while the drums free style and still keep a beat.

This is my audience
Forever one together
Burning Stars
Cut from the same disease
Ever longing, what and who we are

The fans of Coheed and Cambria have expectations as to how the band should sound, the industries who make money from Coheed and Cambria have expectations as to how the band should sound and the band members themselves as they grow older have evolving wants as to how they should sound. Sometimes they don’t align and sometimes they do.

“Peace To The Mountain”

It’s a simple acoustic, drum and vocal song.

I learned to keep quiet,
How to keep my distance.
Afraid to let strangers in,
How to keep my secrets.

I see this as Claudio hiding behind the characters and the Sci-Fi world he created because he was scared to express his own feelings in his songs. But he’s now older and wiser and at peace with who he is.

So if you were scared to check out Coheed and Cambria before, because of the Armory Wars saga, check out this album.

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The Record Vault: Coheed And Cambria – The Afterman: Descension

“The Afterman: Descension” is the seventh studio album by progressive rock band Coheed and Cambria and the second part of a double album, the first part of which is “The Afterman: Ascension”.

You can read my review on it here.

The deluxe version of the album was released with a coffee-table book co-written by band member Claudio Sanchez and writer Peter David, giving a song-by-song experience of the concept album. The album follows the Amory Wars storyline, and concentrates on the character Sirius Amory.

In summary, “The Afterman’s” story takes place at the start of the saga. It follows Sirius Amory, an astromner and his All Mother spaceship as they explore a powerful energy source known as the “Keywork” which is powered by the souls of the departed, imprisoned in some form of purgartorial afterlife.

“Pretelethal”

“WHO WILL REPAIR THIS HEART?” is the repeating lyric, as this song is the set up for the next one.

In the book, Claudio explains that the musical ideas came from him jamming with a lot of new gadgets that he picked up on the road.

And he stuck with the lyric because it represents loss and pain.

From a story point of view, a weakened Sirius is being protected by the energy of Evagria The Faithful, from the other entities. But Vic The Butcher, Domino The Destitute and Holy Wood The Cracked are bombarding Evagria, trying to get to Sirius, so they could possess his body and leave this place.

“Key Entity Extraction V: Sentry The Defiant”

A sombre acoustic guitar starts off with a droning open string and a high melody.

Then the song explodes into the riff and the whole band is in.

If you remember from the “Ascension” review, there is a character called Vic The Butcher, who wanted Sentry to kill innocents on his behalf, but when Sentry refused, Vic The Butcher organised others to kill Sentry by hanging, making it look like a suicide to Sentry’s family.

And now both their souls are trapped in the purgatory stage of the Keywork.

The feel of the song reminds me of “No World For Tomorrow”.

Sentry is the last entity that Sirius will encounter.

Evagria explained to Sirius that he had been in the Keywork for 547 days even though to Sirius it was no more than a week. Just think of the movie “Interstellar”.

For Sirius, it was time to go home, only if he could find a way. As the All Mother told him, his chance of survival to return was 30%.

And I saw Sentry as a pseudonym for “Claudio The Defiant” as the music and lyrics came after Claudio had an argument with his manager because the Manager requested that Claudio try and write more accessible music, which Claudio already thought he was. This was his response.

“The Hard Sell”

“You’re selling out to be in!” is the main hook on this song.

In “The Afterman” book, Claudio mentions how this song comes from a personal viewpoint about his struggles with record labels and managers who want him to write more accessible lyrics.

No one starts writing songs for em to become a hit. There is a need inside a person to create.

Sirius has now returned to Heavens Fence and is being questioned about what he saw and what happened. But he doesn’t tell the whole truth, scared as to the consequences that could come if everyone knows that an “afterlife” exists.

And his wife Meri has moved on with her life. She is in a relationship with the Police Officer who saved her at the bar in “Goodnight, Fair Lady” when her drink was spiked.

“Number City”

This is a different Coheed and Cambria with a groovy, funky, fuzzed out bass riff, taking control of the song. It’s almost disco rock and I like it.

And in the story there is a car accident with Sirius and Meri in which Meri is unconscious and taken to ICU.

“Gravity’s Union”

It’s the longest song on the album and it’s the moods that hook me.

And from the 5 minute mark to the end, it’s desk breaking stuff, with all the layered guitars, the emotive drumming, locked in bass and those infectious vocal melodies from Claudio.

It goes back to before the accident. Sirius and Meri are arguing in the car when it crashes.

And the song ends with a heart monitor beeping.

“Away We Go”

It reminds me of “Feathers” from “No World For Tomorrow”. It has a synth lick to kick it off which is memorable.

This song deals with Meri and her transition into the afterlife.

“Iron Fist”

This is Sirius dealing with the loss of Meri and how he ruins a lot of things.

And you don’t think that a song called “Iron Fist” would be an acoustic ballad, feeling like it’s recorded in the heartland of the country.

The lead from Travis Steer. Its bluesy and full of soul.

“Dark Side Of Me”

As soon as the drums start and the finger picked guitar intro kicks in, I am hooked.

There are bits and pieces from “Here We Are Juggernaut” in the Chorus and the build-up of “Mother Superior”.

It deals with Sirius facing Meri new partner who was also going to be a father. But Sirius ruined it all.

“2’s My Favourite 1”

This one also reminds me of “Feathers” from “No World For Tomorrow”.

Sirius makes the decision to go back to the Keywork and find Meri, to help her transition into the afterlife.

Both albums are different and worthy to be heard.

Check em out.

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The Record Vault: Coheed And Cambria – The Afterman: Ascension

It’s a double album, released in two stages. The first part is “The Afterman” Ascension” and the second part is “The Afterman: Descension”.

It is the first Coheed and Cambria album since 2005 “Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness” to feature Josh Eppard on drums, and the first to feature Zach Cooper on bass.

I purchased the deluxe version of the album.

The original advertisement

In summary, “The Afterman’s” story takes place at the start of the saga. It follows Sirius Amory, an astromner and his All Mother spaceship as they explore a powerful energy source known as the “Keywork” which is powered by the souls of the departed, imprisoned in some form of purgartorial afterlife.

The Fan VIP allowed me to enter the venue early to watch an acoustic performance before the show as long as I had purchased a concert ticket.

There is an AUTHORS NOTE in the book which states that “the world within the Keywork is the first stop of the two levels of the afterlife.

The first, where Sirius is at the moment, is actually more of a purgatory, though the souls are unaware that this is not necessarily their final resting place. Once the souls stop looking out only for themselves, shirking the “me, me, me” attitude that leads to regret, unfinished business and unrest, they can move to the collective consciousness, to the perfect Utopian afterlife.”

And as Sirius explores this energy source he starts to encounter the souls of these people and their stories are told in the “Key Entity Extraction” songs I to IV.

The Hollow

A piano riff kicks it off. You can hear the keys hit the strings.

It gives you a visual of how the souls come at Sirius.

Claudio Sanchez transposed the “The Ring In Return” melody into this. The piece is meant to express the anxiety Sirius is feeling before he heads out into the Keywork.

There is a narrative between Sirius and Mother who is the onboard AI of his spaceship, who promises to be with him all the way as he enters this mysterious energy sournce.

Key Entity Extraction I: Domino The Destitute

You can see how Domino is controlled by a puppet master.

The intro which reminds me Dream Theater’s “Learning To Live” outro and “Wasted Years” from Iron Maiden was enough to get me to lose my shit.

Domino is one of the first lost souls Sirius encounters.

It’s a personal song about the troubles that former bassist Michael Todd was involved in, after falling in with a bad crowd and the addictions he had.

But its told in the story of a boxer named Domino, who had it all to be a champion, but fell in with the wrong crowd, throwing fights and using drugs. One day he convinced his brother Chess to help him and his gangster friends with an armoured car robbery, which went horribly wrong and Chess got shot. Domino unable to go on, took a gun to his mouth and ended it.

The Afterman

In the book you get a drawing with the lyrics on the next page, plus a blurb from Claudio who talks about the origins of the song and the personal inspiration.

The digital delay riff is excellent. A beautiful and tragic song.

It takes place on Valencine, the home planet of Sirius and how his wife Mary reacts to seeing a breaking news report which states: “Controversial researcher Sirius Amory feared dead after unexplained explosion, ending privately funded endeavour to self-professed “Keywork”

Mothers Of Men

The intro riff gets me interested to pick up the guitar and learn it.

Sirius discovers that the Keywork doesn’t discriminate against positive or negative energy. It’s all energy in the end and valuable at that.

Goodnight, Fair Lady

Can there be a pop rock song about a serious subject matter like date rape?

In “Goodnight Fair Lady”, Sirius’s wife is at a bar and her drink gets spiked. She is saved by an Officer called Graves Colten. The Officer will eventually become her love interest.

Key Entity Extraction II: Holly Wood The Cracked

The second entity is a wannabe starlet, fixated on celebrity culture who would go to dangerous lengths to feel she was connected to celebrities.

All the songs on this album are from personal experiences, which have been made to fit the narrative as in this case, Claudio also had some fan stalkers during his time.

Key Entity Extraction III: Vic The Butcher

The albums most rocking song.

Vic was a tyrant Army General who did anything to get into power and did anything to stay in power. He is rage in the Keywork.

He asked a promising soldier called Sentry to kill innocents, but Sentry refused (you will get his story in the next Afterman review) and Vic ordered other soldiers to kill Sentry.

Eventually but at an older age, Vic was charged with war crimes and was due to stand trial for them, but he ended up burning the building he lived in, with both he and his wife inside and hundreds of others.

Key Entity Extraction IV: Evagria the Faithful

“Evagria The Faithful” is the opposite of “Vic The Butcher”.

The Yin to the Yang.

She rescues Sirius from Vic’s tight grip. She has shed her human consciousness and transcended into the Utopia. She operates on a part of the Keywork which is in perfect harmony and oneness. She keeps the other entities away from Sirius but she can only hold them off for so long.

Subtraction

This was supposed to be a Prize Fighter Inferno song (a Claudio Sanchez side project which also continues the story from a character in the earlier albums).

The song deals with the thoughts of Sirius and how with his relentless need to explore the uncharted territory, he is also driving his relationship with Mary to breaking point.

And the first part of the album ends with “The Afterman: Descension” next.

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The Record Vault: Coheed And Cambria – Year Of The Black Rainbow

Coheed and Cambria had released four albums that covered the story of Coheed and Cambria and their son Claudio against the villain Wilhelm Ryan. On “Year Of The Black Rainbow” you get to hear and read how Wilhelm Ryan became the villain.

This is from the book blurb that came with the deluxe edition, which I tried to get but it sold out so quick.

Welcome to the worlds of Heaven’s Fence, where a lattice of mysterious energy known as “the Keywork” binds and sustains life on a triangular network of planets–from the bleak and hellish Howling Earth to the spare beauty of Bendelesh.

Beneath the Keywork’s glow, under the governance of the twelve grey-skinned Mages and the watchful gaze of the winged Prise, humanity goes about it’s daily life unaffected by the goings-on of the higher powers at work in the universe.

Until the day when the ambitious Wilhelm Ryan, newest member to the brotherhood of Mages, acts on his growing discontent at being branded another ordinary Mage, ruling over one lowly Sector.

Shrewd and silver-tongued, Ryan launches the Mage Wars: a devastating campaign to win control of the entire Fence and take on the legendary mantle of Supreme Tri-Mage, a position likened to God himself.

Dr Leonard Hohenberger, the Fence’s top scientist is summoned by the Prise to stop Ryan. His creations, Coheed and Cambria, are thus born and lead the battle to save Heaven’s Fence.

Released in 2010.

This is the first and only album to feature Chris Pennie on drums and the last to feature Michael Todd on bass, after he was arrested on charges of armed robbery. Claudio Sanchez as usual is on lead vocals, rhythm guitar, keyboards and synthesisers, while Travis Stever does lead guitar and lap steel guitars.

Other songs to come out of this period is a cover of the ZZ Top song, “Beer Drinkers & Hell Raisers”, for the tribute album “A Tribute from Friends” and a new song “Deranged”, which was released on the soundtrack for the video game “Batman: Arkham City” on October 18, 2011.

“One”

It’s a one minute, soft piano piece, with ambient and creepy noises as you hear the creaking noise of the piano keys when they are pressed down.

“The Broken”

The verses are technical and the Chorus rocks. The breakdown in the middle is as powerful as the band had gotten and the blah blah vocal chant after the Chorus is unsettling but it works.

“Guns of Summer”

This song divided the fans. Drummer Chris Pennie really shines on this. The whole Intro is like a drum solo with vocal melodies and electronica.

It showcases how technical the band can be. The verses are progressive (I saw a comment once that called the verses mind-bending) and the chorus soars.

“Here We Are Juggernaut”

Dark and heavy and progressive metal like.

Listen to the fuzzed out bass in the verses and the addictive vocal melody in the Chorus.

Also the “bodies breaking” vocal melody in the verses always gets me to pay attention.

“Far”

A dreamy electronica influenced ballad. It reminds me of My Chemical Romance and Smashing Pumpkins.

Check out the repeating guitar lick in the Chorus. Simple and effective.

And also check out the fuzzed out lead break from Travis Steer. Neil Young would be proud.

“This Shattered Symphony”

Typical Coheed song which moves between pop rock like riffs and melodies and then switches to those art rock and Metal kind of riffs with frantic vocal melodies.

“World of Lines”

If you like rock music you should be able to get into this song. I was hooked from the intro. And the chorus is one of their best.

“Made Out of Nothing (All That I Am)”

Would not be out of place on “No Word For Tomorrow”. It’s a beautiful mix of pop and hard rock.

“Pearl of the Stars”

Chris Pennie brings some unusual percussion to this song and the guitar work is haunting, yet beautiful. Claudio moves between low pitched vocals to his normal pitch at the right times.

“In the Flame of Error”

Drummer Chris Pennie shines on this track as well. It’s heavy and dark. Check out the riff in the verse.

“When Skeletons Live”

This song is, plain and simple, awesome. From the keyboard led intro, to the brilliant chorus, this is one of my favourite Coheed songs of all time.

“The Black Rainbow”

A cacophony of noise rock, progressive rock and alternative metal. Make sure you check out the outro when Claudio is singing “It’s over” and there’s a fuzzed out decaying lead by Travis Steer with emotive drumming.

For the hardcore fans, the Deluxe edition bonus tracks are “Chamberlain”, “The Lost Shepherd” and the iTunes edition bonus track is “Hush”.

You’ll need to go to YouTube to check them out. The Chorus of “The Lost Shepherd” is worth your time to invest.

The DVD is pretty cool as it shows how the new tools and effects brought in my the producers allowed the guys to be more creative and to express themselves.

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The Record Vault: Coheed and Cambria – No World For Tomorrow

Released in 2007.

I know the album as “No World For Tomorrow” (from here on in, it will be referred as “NWFT”) but its official title is “Good Apollo, I’m Burning Star IV, Volume Two: No World for Tomorrow”. Another serious challenge to the length of Meatloaf’s song titles.

“NWFT” is the album that brought the story of Coheed and Cambria and their son Claudio to an end. Well that is what we as fans suspect, as no official story book or comic has been released, but in May 2020, Claude Sanchez announced that a story release for “NWFT” is in the works.

From a legacy perspective, after the “NWFT” album, we got a prequel story of how Wilhelm became the Emperor, an origin story of Sirius discovering “The Keywork”, an album not tied to the story at all and a new story post “NWFT”.

Changes in personnel happened for this album as well, with the previous drummer Josh Eppard departing and replaced by Taylor Hawkins from Foo Fighters for the album recording.

“The Reaping”

An ominous acoustic guitar arpeggio riff with an emotive vocal kicks off the album.

Purge these days
Will we accept the things we must?
The world will now learn of change to come, or no world

From reading about the story, Claudio has accepted that he is The Crowing, and as The Writer said on the previous album, all things must burn. Sort of like the Mad King in “Game Of Thrones”, “Burn em all”.

Accept the change, or there will be no world.

After 80 seconds the song ends.

“No World For Tomorrow”

And the iconic riff of NWFT starts. It’s a leaner and heavier “Welcome Home”.

“Bye, bye world, or will our hope still hold on?”

It’s dark as it deals with the end of the main character’s world.

“The Hound (of Blood and Rank)”

It starts off with a “Baba O’Reily” meets “Pinball Wizard” synth.

“Feathers”

I know CoCa fans will hate it when I say this, but the start of this song reminds me of “Fallen Angel” from Poison.

It’s one of their most underrated and forgotten tracks.

“The Running Free”

It’s those major key pop punk songs that Coheed and Cambria do so well.

“Mother Superior”

The single note acoustic guitar riff with ringing notes kicks off this ballad like song. It was actually a piano riff to begin with.

How good is the emotional vocal melody especially in the Chorus?

“Gravemakers and Gunslingers”

This one is hard rock all the way with the guitars smacking you awake.

“Justice in Murder”

The harmony guitars to kick off the song. Stick around for the interlude/solo section from 3 minutes in.

Then begins the highlight of the album, “The End Complete”, divided into five sections with a total running time of around 24 minutes.

“The Fall of House Atlantic”

The first is a short orchestral song built on a Spanish Flamenco guitar riff and syncopated drums/vocals chants, coming across as an orchestral hit.

“Radio Bye Bye”

The second is a short pop rock song, more Queen like.

“The End Complete”

The third has it all, heavy riffs, a great hook, some mellow moments, and the whoas from “In Keeping Secrets Of Silent Earth” come back in.

“The Road and the Damned”

The fourth is a short one. More Coldplay and The Verve like with the violin synths.

And that Guitar melody in the Chorus. Classic Rock Pentatonic perfection.

“On The Brink”

The fifth ends the album. It begins soft, with backwards music playing and a Dave Gilmour like lead.

And then it gets heavy.

The vocals are chanting “Hail” and all of this is followed by an ear piercing scream. This one is more Pink Floyd like, like a forgotten track from “The Wall”

Check it out.

P.S. In a tragedy of epic proportions, I cannot locate my CD of NWFT. Too many House moves and too many misplaced boxes. I’m hoping the book release they have planned will be packaged nicely with the album included.

I also haven’t mentioned the debut album “The Second Stage Turbine Blade” so far, because I don’t have it and have been waiting for a definitive edition to come out so I can purchase.

Onto “The Year Of The Black Rainbow” next.

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The Record Vault: Coheed and Cambria – Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness

Released in 2005, Claudio Sanchez, Travis Stever, Michael Todd and Josh Eppard are back for “Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness”, putting in a serious challenge to Meatloaf on the length of album titles.

I call it “Good Apollo IV”.

“Keeping The Blade”/”Always And Never”

It starts off with violins and an ominous piano riff. After about 90 seconds, a piece of music which is familiar appears.

Then an acoustic guitar riff starts for “Always And Never”, while Sanchez sings a haunting vocal melody. But these tracks are a set up for what is about to come.

“Welcome Home”

This is the big one, at 73.7 million streams on Spotify.

That intro. Listen to it.

Then the Kashmir like feel and riff comes in which ends up being the main riff. Listen to it.

That outro. With the Kashmir riff, the lead break and the whoa, oh chants. Listen to it.

And when the song ends, listen to it again.

“Ten Speed (of God’s Blood & Burial)”

It’s a major key rock song with a funky bass groove. Songs like these keep popping up on their albums and most reviewers call em EMO songs, which never made sense to me. They are just great rock songs.

“Crossing the Frame”

It continues the major key pop rock vibe of “Ten Speed”.

“Apollo I: The Writing Writer”

After some synths, the riff which kicks off the song is excellent, based on palm muted arpeggios and single notes, with a progressive bass groove.

And the major key Chorus, so catchy and poppy.

The song moves between these progressive verses and poppy choruses, never losing my interest.

“Once Upon Your Dead Body”

The song continues some of those major key pop vibes from earlier songs.

“Wake Up”

At 12.2 million streams on Spotify, the song is another star from the album.

It’s a ballad, but with no cliches. And seriously the hook is around the words “Kill anyone for you“.

Take that, pop singles with 15 writers.

“The Suffering

“The Suffering” is the next high point after “Welcome Home” and at 22 million Spotify streams, it’s also one of the big songs from the album.

The most catchiest, especially the vocal line, “listen well, will you marry me and are you well in the suffering” which sounds like the hook from Three Evils’s, “pull the trigger and the nightmare stops“.

And we like it.

“The Lying Lies & Dirty Secrets of Miss Erica Court”

Nothing really connected with me on this one.

“Mother May I”

It’s probably the best Police song written in the 2000’s, that Sting, Copeland and Summers didn’t write.

The final 4 songs are part of a suite called “The Willing Well”.

“The Willing Well I: Fuel for the Feeding End”

Not one of their best.

“The Willing Well II: From Fear Through the Eyes of Madness”

At the 3.15 mark there is this section with whoa oh oh backing vocals that reminds me of Maiden. Musically it’s got all these other little Maiden sections.

“The Willing Well III: Apollo II: The Telling Truth”

The guitar and bass both play unique progressions and it works so good together, all held tight by the unorthodox drumming of Josh Eppard.

“The Willing Well IV: The Final Cut”

“The Final Cut” closes it nicely, more slower, doomy even. There’s a church organ in the background and the guitars sound like they came from the 70s.

And that wah drenched solo needs to be heard. After it goes into a Gilmour like clean tone solo, which again needs to be heard.

Vocally Sanchez is in the zone.

Press repeat on this one as well.

And now for the story, if you’re interested. Plot spoiler warning.

It takes place in the real world of “The Writer”, the person writing the story and it mixes up the reality of The Writer with the fictional story and I’m not a fan of stories that are written like this.

But in the process of the two stories being told, the sci-fi story progresses as the mental health of The Writer regresses. And I will do my best to summarise what it’s all about.

So from the story point of view, Claudio works out that the Keywork is powered by the energy of enslaved souls who want to be set free, and the only way to free them is by destroying Heaven’s Fence.

From The Writer’s point of view, he wants to do bad things to his cheating ex, Erica Court and his mental health deteriorates even further.

Back to the story, a rebel strike team has disabled a generator on a planet, which allows a rebel spaceship to land.

Sound familiar.

Claudio realises he’s “The Crowing” which is sort of like “The Chosen One” to bring peace to the galaxy.

But the bad guys in the story, Wilhelm (aka The Emperor) and his General (aka Darth Vader) have a trap waiting.

Back to The Writer, he has become like Caligula, and is now talking to his bike called “Ten Speed” (Caligula spoke to his horse and made the horse a Senator). Ten Speed tells the Writer not to murder his ex, but to exact his vengeance metaphorically by killing Ambellina, who represents Erica’s good side in the story, and is the love interest for Claudio, which will in turn cause Claudio to accept his destiny as the Crowing and destroy the Keywork.

Back to the story, Claudio and Ambellina arrive at a meeting place, the Willing Well, in which they can see the Writer’s argument with Ten Speed take place.

The Writer eventually uses the Willing Well to pass into his own story. The Writer explains to Claudio he must kill Ambellina for his own peace of mind, so that the story may have an ending. Claudio refuses and The Writer (who has God like powers in his own story) kills Ambellina, and walks off into the distance with his bicycle, Ten Speed, leaving Claudio with the message “all worlds from here must burn,” implying that it is the Crowing’s duty to destroy the Keywork.

And the next album “No World For Tomorrow” is set up.

Here is the box set the two albums came in.

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Classic Songs to Be Discovered, Influenced, Music, My Stories, Unsung Heroes

In Keeping Secrets Of Silent Earth: 3

It all started in 2007 and a Guitar World interview with Claude Sanchez and Travis Stever. They just dropped the “No World For Tomorrow” album. The interview mentioned hard rock, progressive song structures, concept album, massive sci-fi story and vocals that on occasions sound like they came from Geddy Lee.

But I still didn’t commit.

Then a few months later I was given a burnt copy of “In Keeping Secrets Of Silent Earth: 3” by an old band member. I was at work and placed the disc into the CD tray of the PC, grabbed the shitty e-training headphones at work and pressed play. I became a fan for life.

Within the space of a few months, I had downloaded their whole catalogue (which at this time was up to 2007) via The Pirate Bay and then started to purchase those releases and I became a day one buyer for all the albums that came after, like “Year Of The Black Rainbow”, “The Afterman”, “The Color Before The Sun” and “Vaxis – Act I: The Unheavenly Creatures”. I went to watch them live and even today, I would drop a couple hundred to get their super deluxe premium releases for each new album.

But it all started with “In Keeping Secrets Of Silent Earth: 3” released in 2003 and certified Gold by the RIAA for U.S sales.  

It’s their second album about the ongoing saga of the “Keywork” in “The Amory Wars”. It also came with a comic book series and novel. This is how the plot was described in the comic book.

“Ten years after “Second Stage Turbine Blade”, Claudio – the son of Coheed and Cambria, emerges from the depths of Shylos Ten (a barren world located on the edge of the Fence), where the Red Army performs its brutal interrogations and imprisonments.

The Red Army are Wilhelm Ryan’s enforcers, a large force of soldiers and ships he has amassed since the Mage Wars. Claudio finds out that his entire family has been murdered and begins his quest for vendetta. His foes, Supreme Tri Mage Wilhelm Ryan and General Mayo Deftinwolf sense that he is still alive and that he holds special powers.

Meanwhile, Inferno (Jesse Kilgannon) takes up arms against the Red Army in an effort to seek the same kind of vengeance on them. In Claudio’s re-emergence he teams up with Ambellina. The pair along with Sizer, a disassembled IRO-bot, seek out Inferno to find answers as to why his family were killed, but their plans take an unexpected turn in a ship called the Camper Velourium, and a freighter pilot named Al the Killer.”

But you don’t need to be involved in the story to appreciate the album, the music and the melodies as each song stands on its own.

The Ring In Return

A phone rings and a person walks to it. I’m waiting for someone to pick it up and to hear “Mindcrime” on the other line. Fans of Queensryche will know what I’m on about. But the phone keeps ringing, until you hear footsteps walk towards it and eventually the phone is picked up and a woman’s voice says “Hello”. Then some symphony music comes in, sounding hopeful and familiar but it gets dark towards the end, ominous, a forewarning with the words of “Hello Apollo, where should I begin” spoken right at the end. 

In Keeping Secrets Of Silent Earth: 3

How good is that clean guitar intro and the fuzzed lead? 

When I watched the band live in Sydney, the clean tone guitar intro was a sing-a-long moment as we hummed and yelled the intro notes.

Then at the 40 second mark, the whole band kicks in and its head banging time.

At 6 minute and 30 second mark, the intro comes back and the songs builds into a massive wo-oh-oh chant, sort of like the chant in “Heaven Can Wait” from Iron Maiden. In the live arena, this was another sing-a-long moment.

Cuts Marked In The March Of Men

I like the staccato like groove to kick off the song.

Three Evils (Embodied In Love And Shadow)

That section from the 3.20 minute mark. Listen to the music and the vocal melody especially when the lyric goes “Pull the trigger and the nightmare stops”.

The Crowing

There is the middle section which is progressive with metal influences.

Blood Red Summer

This is their pop punk song. The best part is the “what did I do to deserve” section. Listen to the riff, the pentatonic lead section

“The Velourium Camper” suite is divided into 3 sections of over 15 minutes of music.

The Velourium Camper I: Faint of Hearts

It starts off like a modern Kansas song. 

The Velourium Camper II: Backend of Forever

The intro is a favourite, those palm muted notes over a staccato like guitar riff.

The Velourium Camper III: Al the Killer

“Bye bye world, bye bye world/Die white girls, die white girls.” You get an idea what Al The Killer is all about.

A Favor House Atlantic

Another pop punk song like “Blood Red Summer”. 

The words you scribbled on the walls, the loss of friends, you didn’t have, I’ll call you when the time is right

When I look at the words in this verse, I think of this doco I watched on the Columbine School shootings and how the students were hiding out in a closet and waiting for someone to save them when the time was right.

The Light & the Glass

The acoustic arpeggios to start it off make it campfire heartland cut. And throughout its 9 minutes, it rocks and rolls and for the last two minutes, there is a guitar lead and a vocal line that keeps repeating; “Pray for us all”.

2113

It’s got nothing to do with “2112” from Rush even though countless posts would state otherwise. This song reprises two other tracks in “The Amory Wars”, namely “Time Consumer” and “IRO-bot”, both from the previous album “The Second Stage Turbine Blade”. And you need to listen to the section from about 5.15 minutes to about 5.50. I think it’s very Lifeson like.

And because I have some of the super editions from “The Afterman”, the record vault posts for Coheed and Cambria will be single posts for each album.

The standout songs here are the title track and “The Light And The Glass”.

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Coheed And Cambria

“Vaxis – Act I: The Unheavenly Creatures” is the new album. The title can turn people away who are not fans and to be honest these long album titles did sound peculiar and they triggered an interest for me back in 2007, however I still needed another recommendation to dive in.

It started with a recommendation that came from a Guitar World interview about the “No World For Tomorrow” album, which also came out in 2007 but I still did nothing with it.

Then a few months later I was given a burnt copy of “In Keeping Secrets Of Silent Earth” by an old band member. I was at work and I couldn’t wait until I got home as I had some after work activities to do so I would have been home late. Anyway I placed the CD into the CD player of the PC, grabbed the shitty e-training headphones from work and pressed play.

The rest is history as I became a fan for life.

So here I am 11 years later and another new Coheed release has hit the streets. Being a fan, I have no problem spending the $172.95AUD for the Deluxe Box Set. I’ve done this same routine for the last four releases.

It’s another concept album.

My first concept experience was “Operation Mindcrime” from Queensryche, then “The Crimson Idol” from WASP and then “Streets: A Rock Opera” from Savatage. But Coheed take it to another level, with more or less each album except one being part of a concept story called “The Amory Wars”.

Here is a quick summary. There are more detailed ones out there.

A scientist called Sirius Amory discovers an energy source called “The Keywork” is actually souls who haven’t transcended. This happens on “The Afterman” album.

Many years later, a person called Wilhelm Ryan starts using the energy of the Keywork to murder and rule. Coheed and Cambria are robots created to destroy him. Along with a person called Inferno, who also is a robot, they attack Ryan’s fortress and manage to destroy it. But Ryan survives. However Coheed and Cambria think he’s dead. Thinking it’s over, their memory is wiped. This happens on “The Year Of The Black Rainbow”.

In “The Second Stage Turbine Blade” Coheed and Cambria get killed and their last surviving son, Claudio, is left to take up the charge. I’m still not sure how humanoid robots have children. But the recent Bladerunner movie also had this story arc.

Claudio finds out that he’s like the chosen one in “In Keeping Secrets Of Silent Earth”.

In “Good Apollo, I’m Burning Star IV, Vol. I: From Fear Through the Eyes of Madness” there is a character called “The Writer” that starts to fuck up the story because he’s going through a relationship break up. It reminds me of the Matrix characters “The Keymaker” merged with “The Architect”.

In “No World For Tomorrow”, Claudio destroys the Keywork and releases the trapped souls. And the new album takes place after this event.

Now of you want to read reviews of the album I suggest you check out these reviews from Metal Injection and Rock Sins.

I more or less agree with everything they say. In my view, if the album music doesn’t convert new fans the narrative will. It’s a win-win for Coheed and Cambria.

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A to Z of Making It, Copyright, Music, My Stories, Piracy, Unsung Heroes

Score Card Inc

Three years ago in November, 2013, I posted a score sheet on certain artists/trends and how they are dealing with the music business.

Three years later, how are the artists fairing.

Robb Flynn
He still understands that it is not all about making records. From Nov 2013 to now, Robb Flynn via Machine Head, kept on releasing his Journals both video and written. In April, 2014, “Killers and Kings” came out for Record Store Day and the band went on tour. He started a clothing range called “Killers and Kings” that didn’t really take off. In November, 2014, “Bloodstone and Diamonds” came out and the band embarked on a lengthy “An Evening With” world tour. In June 1, 2016, “Is There Anybody Out There?” came out as a stand-alone single.

His connection with his audience runs deep. People either dig him or detest him or some people will not just forget him in an orange jumpsuit during the Nu-Metal phase of the band’s career.

Protest The Hero
Back in 2013, “Protest The Hero” showed how the record labels are so out of touch with its customers. PTH was dropped because the label told them they have no audience. However, a fan funding campaign showed a pretty impressive hard-core audience that was willing to cough up some serious dollars for the band. Even the band was blown away at the response.

And they did it again between Nov 2015 and April 2016 with “Pacific Myth” an innovative one song per month release over six months via Bandcamp. Fans had the option of two packages, and I selected the one that also had the six video releases. In between, the guys would upload drum videos, cooking videos, song transcriptions and what not.

Nikki Sixx
In 2013, he talked about a farewell tour. Well that tour finally happened and concluded in 2015. The Crue fan base didn’t really need one more world tour however, they wanted to finish up in their own way and the world tour is what we got, with a new song called “All Bad Things”. The movie is still in the works, they have their own pleasure toys, a rumour of The Dirt 2, plus lawsuits from photographers and opening bands to contend with. Seriously, squirting piss at a bunch of guys who paid $1 million to be on the tour would always end up in the courts.

With Sixx A.M. he has released an albums worth of music and the next album is coming in a few weeks. They are on tour with Five Finger Death Punch, he does his Sixx Sense Radio Show and he doesn’t like to wash his hands after going to the toilet.

Coheed and Cambria
By November, 2013, COCA had been touring non-stop on the back of “The Afterman” two album releases that came out within a 4 month window. Add to that Comic Con appearances, plus Sci-Fi conventions and appearances in Comic Shops and you get the idea that this band realises that it is not just about music and money. It is about creativity.

Since then, Claude Sanchez became a dad. He wrote more comics with his wife called “Translucid” in 2014 and in 2015 managed to release another slab of songs called “The Color Before The Sun” and go on a another world tour.

Metallica
Back in 2013, I wrote;

They need to make new music soon. There are only so many times that a band can go on a worldwide victory lap on the same piece of music. They need to be back in the studio.

Well, we are almost one week away from that new music hitting the streets and in the meantime, we have been treated to three tracks.
It’s a welcome relief to hear Metallica doing what they do best and I believe they have enough new music in their archives for another album to drop within two years this time, instead of eight.

And after hearing the album – yes it is available on the pirate sites, I can honestly say that it’s not worth the 8 year wait at all and maybe 4 song EP’s is the best way to go.

Dream Theater
I wrote in November 2013, that they need a great record soon or they will become yesterday’s news. Dream Theater has a knack for popping up with some goodies, like “Images and Words”, “Scenes From A Memory”, “Systematic Chaos” and “A Dramatic Turn Of Events”.

So in January 2016, they dropped the 130 minute “Astonishing” concept album, about a dystopian future society. Concept albums lead to different revenue spin offs like a stage play, comic book stories, video games, animations, TV series, a movie and so forth. But then again, Slayer are doing a graphic comic book series and have never done a concept album.

Stone Sour
I wrote in 2013, that something went south with their career trajectory. Of course, a beast called Slipknot would devour the creative forces of the band. Their take on modern metal is good, but with Slipknot getting more melodic, is there a reason for Stone Sour to exist.

Five Finger Death Punch
They have an audience who purchases and streams their product. Along the way, each album has received certifications for so many units moved. An onstage meltdown, a record label lawsuit and then a change of label has not slowed the band down in any way. If they can remain together, they will remain a powerhouse.

Trivium
Back in November, 2013, their new album “Vengeance Falls” was called a Disturbed covers album. The truth is, if people are talking about you, it is a good thing. And that album gave Trivium a concert classic in “Strife”. Since then, they released “Silence In The Snow” in 2015. They are always looking to reinvent themselves constantly while staying true to heavy metal. Plus Matt Heafy has a pretty cool Top 10 list of albums that changed his life.

1. Metallica – The Black Album (1991)
“A kid lent me The Black Album at school and it changed my life. I had never heard anything like it before, and I started playing guitar all the time.”

2. In Flames – Whoracle (1997)
“That was at the time of Napster, and I was into the classic great metal bands. I was on Napster and I found In Flames. I had never heard melodic death metal before, and it changed my ear on what kind of music I wanted to play.”

3. Queen – A Night At The Opera (1975)
“What I’ve always loved about Queen is that they’ve never released the same thing twice. Everything is drastically different while still sounding like Queen. Every song on A Night At The Opera sounds different to the next one and they all stand up as fantastic.”

4. Iron Maiden – Seventh Son Of A Seventh Son (1988)
“With Iron Maiden it’s hard, because I love so many of their records. They’re all so important. Seventh Son, though, is the one that really got me into Iron Maiden. It’s one of their more epic records; there’s vivid storytelling going on. Getting into Iron Maiden helped me trace the roots of the music that I love. I could see where so many metal, death metal and black metal bands had taken things from.”

5. Ihsahn – Eremita (2012)
“Emperor changed my life, and Ihsahn changed my life again with this album. He spun the idea of black metal on its head by incorporating jazz chords, interesting production and clean singing. That record taught me to never be afraid of making whatever I want to make. We’ve always done that, but this album drove that home for me.”

6. Boston – Boston (1976)
“The vocal production is insane. Everything about this record epitomises the best things of rock ‘n’ roll.”

7. The Beatles – Abbey Road (1969)
“The Beatles blow my mind in the same way that Queen do in that every song and record is so different to the last. Both of those bands have incredible songwriters as well. It’s not like nowadays where you might have one songwriter in a band.”

8. Emperor – Anthems To The Welkin At Dusk (1997)
“This is where Emperor really changed the dynamic of where black metal was going. Black metal was the rebellion to rock and metal, and was supposed to be different. “When there’s a movement like that, a lot of bands come out playing semi-similar music. That record opened up with clean guitar and there’s this classical singing; it has chaotic moments and beautiful moments all in one. Emperor makes such interesting black metal with these big dramatic moments.”

9. Depeche Mode – Violator (1990)
“Listening to Depeche Mode, you can hear that Rammstein is a combination of Depeche Mode and Metallica. Violator is one of the darkest, scariest records I’ve ever heard. It has this different kind of sadness that you feel in the music.”

10. The London Symphony Orchestra – Mozart’s Requiem (1791)
“The gothic artwork of that record is incredible, and this version for me is just the best. Listening to this, you can hear that out of all contemporary music, metal is the closest living relative to classical. It is the most epic moments of music that have always drawn me in, and I feel that with Mozart’s Requiem that is where you’re getting into the blueprint for everything that was to come.”

Shinedown
They have an audience who want to listen to them and so far, no one’s doing hard rock better than them. Their new album “Threat To Survival” has taken its influences from Adele, Imagine Dragons and other pop artists and they still made it rock hard. Daughtry and James Durbin should take note. Along the way, their fans purchased and streamed all the way to certification after certification.

Avenged Sevenfold
Say what you will about the “influences” on “Hail To The King”, doing that album was a bigger risk for Avenged Sevenfold then their new album and it paid off for them.

Fast forward to 2016, and their new album drops early. It is a creative tour de force but to me it’s already in the rear view. All of the good bits in each song are undone by the creativity of trying to push the boundaries.

Piracy
In 2013, I wrote that piracy is not that large of a problem as the majors and the RIAA make it out to be and with revenues in 2016, approaching the pre-Napster era, it’s further proof that piracy does not affect their bottom lines, especially when there are services out there that can compete with piracy.

Evergrey
The pure definition of perseverance with 20 plus years in the music business and still going strong.

By November 2013, the “new” version of the band that delivered “Glorious Collision” had splintered again and lead vocalist/guitarist Tom Englund was not sure on the next step. A reconnection with drummer Jonas Ekdahl and guitarist Henrik Danhage (who departed before “Glorious Collision”) spawned the excellent “Hymns For The Broken” in 2014 and a few months ago, “The Storm Within” builds on the atmospherics created by “Hymns”.

Megadeth
In 2013, Megadeth’s new album “Supercollider” was outsold by Metallica’s self-titled “Black” album. In 2015, Mustaine got his metal chops back and in 2016, “Dystopia” came out. Another Mustaine Resurrection was at hand.

Tremonti/Alter Bridge
Mark Tremonti knows it’s about putting new music out there and consistently. In 2013, we had “Fortress” from Alter Bridge. In 2015, we had “Cauterize” from Tremonti and 2016 has given us, “Dust” from Tremonti and “The Last Hero” from Alter Bridge. In three years, Tremonti has been part of 4 albums while Metallica ……

The Night Flight Orchestra
The best classic rock side project ever from Soilwork and Arch Enemy band members. The first album “Internal Affairs” came out in 2012 and the second “Skyline Whispers” in 2015. Essential listening to any hard rock fans of the 80’s.

Sales
In 2013, I wrote that sales are not the best metric to measure a bands reach and pull in the market. In 2016, listens are more important than sales.

Bullet For My Valentine
By November 2013, people had lost their “Temper Temper” with them, but in 2015, the band found their “Venom” again, which leads us to new music hitting the net in November 2016.

Revolution Saints
In 2013, this band existed in the head of the Frontiers President. In 2015, they released an excellent melodic AOR rock album. So much potential, so many good songs, great musicians and it all went to hell because Castronovo couldn’t keep his 5555t together. Let’s hope that Jack Blades and Doug Aldrich forgive him and they try for another album. This time with the three of them writing.

TesseracT
One of the hardest working progressive bands out there, building their fanbase, city by city. In 2011, they released “One”. In 2013, they released the excellent “Altered State” and in 2015 we got “Polaris”.

Days Of Jupiter
An unsung Swedish melodic groove rock band, that’s a cross between Evergrey and Disturbed. In 2012 they released “Secrets Brought to Life” and in 2015, “Only Ashes Remain” came out.

Sweet and Lynch
Another album would be sweet.

Muse
They play stadiums but they don’t have the same sales figures as the 70’s and 80’s legends. A perfect example of the modern world, in which massive single songs sell concert tickets.

Live
In 2013, I wrote;
Remember the excitement and the buzz of going to the show. It was uncontrollable. Everyone waiting in line to get inside, to watch a band that rules, in an era that music ruled. Today, it is too expensive to take kids to a concert and that is only for a glimpse in the back. This business needs a reset.

Concert ticket prices are still high, especially for the superstar acts. The price gauge happened as an offset to dwindling revenues from recorded sales, however with recorded music revenue now as high as the pre-Napster era, there is no reason for the high concert ticket prices.

Slash
As an artist, he didn’t need to go back to Gunners. He had enough momentum to keep going as a solo artist and with Myles Kennedy, a better front man than Axl Rose. Slash kept on releasing new music consistently, while Duff and Axl complained of piracy and artistically were dead in the water. Money triumphs over creativity and in this case, it’s really sad.

Album
Back in 2013, I wrote how everyone talks about the money that is lost due to piracy as album sales shrink. Back then 20% of the tracks on Spotify have never been played. So what is the point of the album, when people ignore the songs that are not “hits”. When I go to Spotify and I come across an artist I haven’t heard before, I go to their Spotify page and hear the tracks in their top 10 list. Those tracks in most cases are pulled from many different albums.

And if any of those tracks connect with me, I might dig deeper into the album.

Rodrigo Y Gabriela
Created by their love of metal and rock music and when that same genre put up roadblocks to a career in music, they changed tact and went all flamenco acoustic on the world. Talk about paying their dues and taking risks. They moved from Mexico and took a chance in Europe. Over an 8 year Dublin residence, they honed their style and songs, so when their “official” debut album hit in 2006, what seemed like an overnight sensation was 15 years in the making.

There is nothing more difficult in the world then trying to make it as a musician. You need to show up day after day, week after week, year after year. And your brand or movement might just make some small gains. Then it hits a few speed bumps, like Rodrigo and Gabriela’s metal band losing their recording contract in 1997 and suddenly you are back at the start. But they kept on showing up, on the coast of Mexico and playing their acoustic guitars in the bars. Because showing up day after day, is the hardest part of making a difference. If you look at the history of the artists we like and admire, you will see many years in pursuit of their dreams.

It is a work of a lifetime to create an impact and build something of substance. In 2013, they were riding the highs of their 2012 “Area 52” collaboration, which involved re-working their best songs with a full flamenco band. Then in 2014, “9 Dead Alive” dropped and new music is needed ASAP.

Sebastian Bach/Skid Row
They shouldn’t get back together, because no one cares about Skid Row in the way they used too. They might have a large audience in Japan, like Dokken, but the rest of the “Youth Gone Wild” have moved on. Sebastian Bach is actually bigger than Skid Row and releases way better music than Skid Row have done without him. But, what was he thinking when he approved the photo for his memoir’s cover.

The Kindred
From Canada and the healthy progressive scene. They started off as “Today I Caught The Plague” from the ashes of another band called “A Legend Falls”. In 2011 they released the excellent “Lore” and went on tour with one of my favourite bands in Protest The Hero and their “Scurrilous Tour”. Then in 2013, a name change happened to “The Kindred” and the excellent “Life In Lucidity” came out at the start of 2014.

However, PTH needed a drummer for their “Volition” tour and it was no surprise that they tapped Mike Ieradi (who also co-founded the group) to fill the spot. Then in 2015, vocalist David Journeaux departed, with Johnny McArthur as their new vocalist and Kenny Saunders as their new drummer. So now I wait to see what comes next.

Streaming
Back in 2013, I wrote that everyone talks about the money which isn’t filtering down to the artist and how streaming is too entrenched to be replaced. Since then the record labels have grown their revenues on the back of streaming. Artists who negotiate deals with the streaming services like Metallica and Motley Crue have never complained about streaming. Suddenly, luddites Anthrax are not complaining and Scott Ian even mentioned how he believes streaming is the best thing to have happened to the recording industry.

Streaming is the future and those artist who don’t grow with this future will be too busy shrinking.

The Gaslight Anthem
They do the early 80’s Bruce Springsteen better than Bruce Springsteen these days. It was like a supergroup of independent musicians that came together in New Jersey in 2006. Their 2010 album, “American Slang” spawned an unexpected hit with the title track and “45” from their 2012 album “Handwritten” became their biggest hit. Since then, “Get Hurt” came out in 2014 and by July 2015, the band went on an indefinite hiatus.

Since the hiatus, singer Brian Fallon released a solo album called “Painkillers” in March 2016, and on April, 2016, a vinyl EP called “Georgia” was released for Record Store Day 2016 with a limited pressing run of 2,000 copies on 10″ vinyl. Let’s hope that “The Gaslight Anthem” get together for more music over the next three-year period.

Volbeat
Seen as overnight sensations however they are over 25 years in the business. It all started with “Guitar Gangsters & Cadillac Blood” in 2008 and being added to the Metallica “Death Magnetic U.S. Tour”. Then in 2010, “Beyond Hell/Above Heaven” came out and while that was still selling, they released “Outlaw Gentlemen and Shady Ladies” in 2013 and they hit every major music market over and over again. Since then, they released “Seal the Deal and Let’s Boogie” and are continuing on their merry ways. For all the newbies, check out their streaming numbers. They are huge compared to other major label metal/rock acts.

Killswitch Engage/Times Of Grace
In 2013, Killswitch Engage released “Disarm the Descent”, their comeback album with Jesse Leach on vocals. And how good is “In Due Time” with brutal verses and an arena rock chorus. Then in February 2015, a new track called “Loyalty” appeared on “Catch The Throne: The Mixtape Volume 2” to promote “Game of Thrones”. They then toured and kept on working on “Incarnate” which finally came out on March 11, 2016. Since then, they toured and are planning on releasing a beer. Meanwhile, “Times of Grace” have five songs completed for a new album to come out, with their last one coming out in 2011.

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Music

Return Of 2015: Part III

NUMBER 8:
Days Of Jupiter – Only Ashes Remain
If you don’t like Disturbed’s comeback album, then get into this album.

Days Of Jupiter hail from Sweden and they started in January 2010, however the members have been in various bands prior. Like anything to do with music, it’s a long way just to rock and roll.

They take Disturbed’s / Shinedown / Five Finger Death Punch and Alter Bridge style of music, amp it up with “Rammstein” style grooves, mix in some Tool progressive grooves, add in some Euro/Metal influences like Accept, Scorpions, Evergrey and top it off with Arena Rock choruses.

The result is “Only Ashes Remain”; their second album. For those that don’t know, “Secrets Brought to Life” released in 2012, is their debut album.

The opening moments of “Ashes” bring back memories of Five Finger Death Punch’s “The Bleeding”. “Broken Halo” is a hell of a good song. “Remember My Name” is a metal tour de force.

“I” reminds me of the “Draconian Times” album by Paradise Lost. “Shut Up” is a monster song, with that Rammstein marching beat and “Last One Alive” brings back the intro of “Ashes”.

NUMBER 9:
Sweet and Lynch – Only To Rise
The people who spread the word for the project are either fans of Stryper and Dokken or Michael Sweet and George Lynch. Sweet and Lynch are two veterans of the music business who know they need to play to their core. It is the core audience that will sustain them and it will be the core audience that will abandon them when they deviate too far from it. My review can be found here.

The whole album is an example of the progress is derivative model that I subscribe too.

NUMBER 10:
Muse – Drones
I have a lot of time for this band, because of “Stockholm Syndrome”. That song was copied and used by a ton of metal and rock bands afterwards. “Drones” to me has enough to satisfy the core, and to pick up new fans. Check out “Psycho” that merges a “Black Sabbath” sludgy groove with classical overtones. Then comes “Mercy” that will satisfy the pop fans of Muse, plus it has enough grit to satisfy the rock fans. I will even go out on a limb and call Muse the modern-day Led Zeppelin.

“Reaper” kicks off with a Van Halen “Hot For Teacher” vibe and it has this “Still Of The Night” vibe from Whitesnake in the Chorus, while the bassist is playing lines like “Heart Of The Sunrise” from Yes. Brilliant.

Then you have a keyboard led song like “Aftermath” with it’s Claptonesque blues style of leads in the intro.

Chuck into the mix the Morricone themed “The Globalist” that morphs into a “Stockholm Syndrome” style movement that then morphs into an Elton John crossed with jazz movement and you can see why I call Muse the modern-day Led Zeppelin.

And the lyrics from Matt Bellamy are brilliant, especially for a band that has commercial appeal, who also racks up at least 5 million streams on Spotify each day. While Coldplay and Bon Jovi tell their audience they can move mountains, Muse/Bellamy tells them what is happening in the world at this point in time.

“Your mind is just a program and I’m the virus” ….. From “Psycho”

“Absent gods and silent tyranny
We’re going under hypnotised
By another puppeteer” ….. From “Mercy”

“I’m just a pawn and we’re all expendable” ….. From “Reapers”

“You were my oppressor
And I, I have been programmed to obey
Now, you are my handler
And I, I will execute your demands” ….. From “The Handler”

“Oppression is persisting
I can’t fight this brain conditioning
Our freedom’s just a loan
Run by machines and drones
They’ve got us locked into their sights” ….. From “Revolt”

NUMBER 11:
Coheed and Cambria – The Color Before The Sun
You can hear how fatherhood and love has affected Claude Sanchez.

“Island” kicks off the album. It’s similar in style to other major key rockers COCA have done in the past. However, the best song is Claude’s love song, “Here To Mars”.

And as usual Claude Sanchez comes up with some excellent lyrics;

“Now give me one good reason to stay here at all
When the fee is too big, our apartment’s too small
Where’s my life-saver when I’m screaming danger” ….. From “Island”

“You, you keeping on screaming from the top of your lungs,
Mr. Who Gives A Shit, just shut up” ….. From “You Got Spirit, Kid”

“You’re number one
Go on living that farce
Cause nobody gives a fuck who you are” ….. From “You Got Spirit, Kid”

NUMBER 12:
All That Remains – The Order Of Things
Maybe all the love goes to “Killswitch Engage”, but man All That Remains are up there as well.

“This Probably Won’t End Well”, “The Greatest Generation”, “For You”, “A Reason For Me To Fight”, “Bite My Tongue” (love the little jazzy breakdown solo section) and “Criticism and Self Realization” are stand outs.

And if you are looking for voices who are not afraid to speak their minds, then look no further than frontman, Phil Labonte. Check out some of his lyrics.

“Mistakes that are made are the gifts that keep giving” ….. From “This Probably Won’t End Well”

“They dug and shaped the earth and with their hands gave birth,
To all the modern wonders that you see, they worked from dawn till dusk” ….. From “The Greatest Generation”

“Cause I can’t wait while you think this through
We don’t have endless time, remember who left who” ….. From “For You”

“No cavalry left that we can call, we’re on our own, backs against the wall” ….. From “A Reason For Me To Fight”

“Apologies are empty words, I know you’re only sorry (because) you got caught” ….. From “Bite My Tongue”

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