Coheed and Cambria - Good Apollo, I'm Burning Start IV, Volume One; Fear Through The Eyes Of Madness

This is a strange one: I’ve never really considered myself a fan of Coheed and Cambria – in fact, growing up alongside the “emo” trend in high school, hearing Coheed’s high-pitch croons would send shivers up my spine. But then, with Good Apollo, I’m Burning Star IV, Volume One: From Fear Through The Eyes Of Madness came a maturity that took a while to sink in, although it added a progressive element to Coheed’s already unusual sound, and made me see the band in an entirely different light. Nowadays, early Coheed stuff doesn’t make me want to vomit – I still don’t like it, don’t get me wrong – but now at least I understand it.

What I don’t understand however is what the actual fuck is going on here, on this record. There is a puzzling mystery in Coheed’s approach to music. On the surface, to the casual listener, it appears poppy and catchy, but underneath that, if you dig further, there is an intense technical edge to these well-crafted tunes.

Good Apollo, I’m Burning Star IV, Volume One: From Fear Through The Eyes Of Madness is an ambitious concept album that continues to unfurl the Coheed and Cambria story (I won’t go into it). You know an album is big when it doesn’t actually begin properly until the third track (the gloriously pompous “Welcome Home”).  There is a smattering of Coheed classics here, from the big singles as “Ten Speed (of God's Blood & Burial)”, “The Suffering” and “Wake Up”, through to the lesser known album tracks such as the hat trick of bangers: “Crossing the Frame”, “Apollo I: The Writing Writer” and “Once Upon Your Dead Body”. 

My favourite part of this monstrosity has to be the final four tracks, which should really be an EP on its own, The Willing Well Parts I-IV. This is where shit gets real; no more poppy four minuters, it’s like Rush somehow got on board for the latter half of the recording process for this album. At over seven minutes a piece, these tracks are long, meandering yet still catchy, but just plain weird. The drums are absolutely everywhere; buzzing, ticking, fluttering, hissing, with fills galore and hi-hats spasmodic. "The Willing Well III: Apollo II: The Telling Truth" is a reprise of “Apollo I: The Writing Writer” and is the best song on the record, with the closing track "The Willing Well IV: The Final Cut" tumbling in a close second. “The Final Cut” is a Pink Floyd inspired dreamer drenched in wavering organs and jagged guitar leads, underpinned by a venomous lyrical climax. Yikes.

The production on this thing as well, is just perfect. Every instrument pushes through with expert clarity so big up to David Botrill who mixed this thing. 

Get proggy and give the entire Willing Well suite a goosey (medicinal cigarette recommended).

The Mars Volta - Deloused In The Comatorium

Welcome to another post about another album that I have put off buying for nearly a decade. You can thank the wondrous Amazon marketplace for these posts that should have rightly been made a long time ago; their CD prices are sometimes so goddamn obscene that I cannot resist buying a whole bunch of new CDs every week. This one cost me a little more than the usual 1p, but it was still a criminal sum for a brand spanking new CD. I’ve received some sorry looking CDs through the Amazon marketplace (particularly from Zoverstocks) but this one is pristine in every single way. Anyway, onto the recording itself!

Deloused In The Comatorium is an extremely ambitious debut from a band that includes those two chaps from At The Drive In and Flea from the Red Hot Chilli Peppers on bass, and a bunch of other guys that I’ve not heard of before. I don’t really know that much about RHCP or of ATDI for that matter, but considering the type of stuff that both those acts produce, you’d never in a million years expect something as mind-bogglingly experimental as this. To sum up quickly; Deloused… is a concept album based on the experiences of a dude called Cerpin Taxt, who journeys through a week-long coma induced by consuming a concoction of morphine and rat poison. Yeah.

Before I start going into particular tracks, I would just like to say that the instrumentation here is absolutely flawless; the guitar work is enough to fuck with any 6-stringed student’s head, whilst retaining that dirty, distorted “indie” sound in the loud parts, keeping everything nice and digestible. The bass, by the ever-amazing Flea, whilst playing perfectly, is kinda kept in the background for the entire album. You can hear him clearly, but the bass is the backbone here, which isn’t what you’d expect from something that seems to be so hay-wire with it’s other comprising elements. I can’t tell if there are electronics going on here or if they are just severely mangled guitar sounds. Either way, they add a whole new depth to most of the tracks. Finally, the drumming is precise, fill-happy and extremely busy (and often very Latin-sounding).

I think you’re either gonna love or hate the voice of Cedric Bixler; his high-pitched wails, whines and nasally highs are enough to get up the backs of more gruff rock’n’roll listeners, but whilst I am not particularly a massive fan of this style of vocal performance, I think that it works perfectly with the music. The first proper track “Inertiatic ESP” has an enormous chorus, and Cedric's vocals work so perfectly on the chorus.

I could go into every song here but they are so varied that this blog post will end up lasting a million years, which I do try to avoid. Whilst I do like writing in depth about records, it is time consuming on both myself and the reader; and I don’t want things to get too boring! Anyways, thanks to the copyright-defying users of Youtube.com I can let the fantastic tunes of The Mars Volta do the rest of the talking. If you’ve got an hour spare (and an open mind) I would definitely recommend giving Deloused In The Comatorium a listen through. This catch-up purchase of a band that I liked once upon a time has initiated a whole new love for me; it’s time for me to go out and discover the rest of the material that The Mars Volta has to offer. Cheerio!

Akercocke - Words That Go Unspoken...Deeds That Go Undone

Akercocke’s fourth album was by far their most experimental. Following up the absolutely monstrous and enormous epic that was Leviathan could have been no easy task for these distinguished English gentlemen. In my opinion, Words that go unspoken… is nowhere near as brutal as the exquisite aural punishment of Leviathan, but the band definitely followed through by evolving in incredible leaps into something far more sprawling, technical and genre-bending. Where Leviathan had that the “oomph” factor that is missing from most death metal recordings, Words that go unspoken has a daring sense of adventure and experimentation; it is the sound of a band flexing it’s creative muscles, to be poetic about it.

Things kick off fairly simply; “Verdelet” is Akercocke through and through, with a thrashy pace and double bass, which eventually gives way to clean vocals and excellently composed semi-acoustic guitar sounds. Despite the softer elements, the drums never give out for the duration; David Gray is an animal on the kit. “Seduced” has classic death metal written all over it, and also has one of my favourite Akercocke guitar solos (which is actually one of the simpler and more understated ones the band has ever used). The real fun begins however with track 3, “Shelter from the Sand”. This snarling death metal beast slowly evolves into something altogether more Opeth-y (minus the untold amounts of boredom). I can’t really describe it, but there is a whole world of prog-rock influence here, maybe not so much on the psychedelic side (imagine that? Haha satanic pysch-metal) but definitely on the progressive, “things unfolding at a gradual pace” side of things. I think it was Jason Mendonca himself who once likened the sound on this album to “Morbid Angel and Rush having a fight in a lift”. 

From here on out, things are much tamer than they have been on any previous Akercocke record. Sure, the staple sounds of the band are all here but they are utilised in much more subtle and experimental ways. The title track, and it’s sequel “Intractable”, are two fantastic pieces of musical art that you would never expect from blasphemous, sex-charged death metal swine such as Akercocke. I think this is what I was trying to convey in my opening paragraph; whilst Words….doesn’t necessarily blast your fucking head off, it showcases a maturity in so many ways, that would continue to unfold on the band’s next record (although in not so overtly experimental tones).

All in all this is a fantastic metal record, and I guess if you’re looking for an in-road into Akercocke I would say that this – whilst ironically being their most experimental – is by far their most easily accessible material (I think you wrote this for the Antichrist review too, ya feckin' eejit - Ed, 2019). Antichrist that followed had a much more direct death metal approach, but the genre scope of Words… more than allows a much wider chance for appreciation from fans of other genres. Like most of their records, this was released on Earache Records, and unfortunately only on CD format. I would absolutely love the Akercocke records to be pressed onto vinyl, but I think that sadly there isn’t ever going to be enough demand out there for somebody to take the risk and get the ball rolling (I know Earache certainly won’t, check out this blog post by Dig). Give the entire disc a spin in the link below!