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COHEED AND CAMBRIA
The Afterman: Ascension

Hundred Handed (2012)
Rating: 9/10

Nyack, New York’s Coheed And Cambria are an interesting band. Over the course of six albums they continue to remain a unique beast, impossible to classify. Equal parts prog rock, post-hardcore and punk clash to create a sound that is the singular territory of Coheed And Cambria.

Add to this equation the science fiction realm created by vocalist / guitarist Claudio Sanchez and it is impossible to liken Coheed And Cambria to any band or genre. With a style that encompasses the best of heavy music, ranging from classic rock influences to the grit and aggression of modern metal, there is no other musical experience quite like what this innovative group offers.

The Afterman: Ascension is the continuation of the science fiction saga “The Amory Wars”, and the first of two concept albums covering the current portion of the ongoing storyline. The second, The Afterman: Descension, is due to be released in February 2013.

The current installment in the series focuses on Sirius Amory, for whom “The Amory Wars” is named, researching the power that holds together the 78 worlds which comprise the setting, known collectively as the Keywork, and the concept of an afterlife in Sanchez’s fictional realm.

This release also sees a change in Coheed And Cambria’s rhythm section, adding new bassist Zach Cooper, formerly of AM To AM, and the return of drummer Josh Eppard, who departed the band following the release of 2005’s Good Apollo, I’m Burning Star IV, Volume One: From Fear Through The Eyes Of Madness.

An instrumental introduction has become a signature for any Coheed And Cambria release, and this album is no exception. ‘The Hollow’ greets the listener with a creepy mix of piano, guitar and mechanical voices. This menacing lullaby is booth soothing and edgy, almost like the repetitive piano theme of John Carpenter’s Halloween movie franchise.

As the intro exits, a mix of echo drenched electric guitars and a sitar-like sound take us into the post-hardcore staggered riffing the band is known for. ‘Key Entity Extraction I: Domino The Destitute’ shows both the common musical themes associated with Coheed And Cambria and how the band has grown since the release of Year Of The Black Rainbow in 2010. While maintaining the band’s trademark stylistic meld, The Afterman: Ascension shows a growing proclivity for adding enough pop influence to bring Coheed And Cambria’s music to a wider audience.

This is not to say that this release will not be embraced by the band’s existing fans. ‘Key Entity Extraction I: Domino The Destitute’ retains the complex style that challenges the listener, but the chorus is more of a straight ahead rock affair, and the song includes a break that is more than a little reminiscent of Pink Floyd’s classic ‘In The Flesh’ (from 1979’s The Wall).

This is followed by the title track which adds a new element to the band’s sound, a ballad. Guitarists Sanchez and Travis Stever create a lush environment of echoing guitar sounds that brings to mind the quieter moments of A Flock Of Seagulls. This gives way to a staccato post hardcore beat. ‘Subtraction’ closes the album with another ballad, this time with a nod to electronic music.

Another moment of growth is shown in ‘Goodnight, Fair Lady’. This track is ready for the radio. Best described as an updated version of 2005 hit ‘The Suffering’ (from Good Apollo, I’m Burning Star IV, Volume One: From Fear Through The Eyes Of Madness), this song shows how Coheed And Cambria have built upon their existing formula to craft songs with broad appeal.

Amidst the changes, are plenty of what Coheed And Cambria are best known for. The challenging arrangement and shifting rhythms of ‘Key Entity Extraction II: Holly Wood The Cracked’ provide the challenging listen fans have become accustomed to. This track is also prime evidence of why Coheed And Cambria don’t fit nicely into any single genre. The sludgy distortion of a pre-radio hit Soundgarden contend with moments of serene pop and arena rock chanting.

The following track, ‘Key Entity Extraction III: Vic The Butcher’, offers layers of pummelling hardcore stutter beat rhythm guitar, technical lead guitar work, and a mix of shouts and melodic vocals that would tear each other apart if not for the firm foundation laid down by the perfectly synced bass and drums.

I have been a fan of Coheed And Cambria for many years, but was severely let down by Year Of The Black Rainbow; it didn’t challenge me the way the band’s music generally does. So it was with much trepidation that I approached The Afterman: Ascension. But what I found on this release is not only a band back in top form, but a band moving forward.

The addition of pop sensibilities sooth the daunting listening experience that comes with the band’s eclectic mix of styles, and rather than dull the aggression of the band’s songs, the musicality of this evolved approach provides a counterpoint to their hardcore roots, resulting in songs that are rich, catchy, heavy and blissful.

The Afterman: Ascension is Coheed And Cambria’s best effort yet, and one of the most unique listening experiences of 2012.

Jim McDonald

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