Sound — 10
Coheed and Cambria have crafted their best album yet. Musically, "No World For Tomorrow" is comprised of the band's most intricate and diverse songs. Each song feels as though it's been carefully and masterfully crafted into a precise work. There are a wide arrange of styles, from pop ("Feathers", "The Running Free"), pure rock ("Justice in Murder", "The Hound (Of Blood and Rank)"), blues-rock ("On The Brink") and even electrifyingly metal ("No World For Tomorrow"). Story-wise, this album marks the end of the saga of Claudio Kilgannon, the Crowing, whose ultimate and unavoidable destiny is to bring about the end of the universe. As album, "No World For Tomorrow" lacks nothing and holds nothing back. Masterful guitar solos are worked into most of the songs, an element that was missing from most of their previous songs. Some of the songs also recall parts and lines from previous records, as Coheed has become known to do. "No World For Tomorrow" is one of the best albums to come out in the past few years, and one of the few that can truly stand out as a beacon of pure rock in a sea of emo and hardcore.
Lyrics — 10
Claudio Sanchez. That's all that needs to be said! Claudio has taken his vocals to enourmous new heights, not only in pitch, but in a melodic vocal layering, most apparent in "Mother Superior". He can still nail those high notes, but also keeps to the darker voice that comprised a good part of Volume 1. Taking on the deadly persona of a hitman-looking-for-a-gunfight, Sanchez deeply sings "Leave a long trail of nothing, little bad boy with gun in hand" over "Gravemakers and Gunslingers". Taking all kinds of new angles, this is the most diverse vocal output from Coheed and Cambria to date.
Overall Impression — 10
01. The Reaping - an acoustic opening track that gives you the sense of a calm before the storm. It's very short and offers faded explosions behind the slow acoustic riffs. 02. No World For Tomorrow - what a riff! Right off the bat, this song is kicking your ass. Feeling like the bastard child of "In Keeping Secrets of Silent Earth: 3" and "Welcome Home", this song weaves it's way back and forth over the edge of chaos. A slow break after the second chorus offers a short breather before Claudio screams, "I'm the Crowing! Fly!" This is one of the few songs that doesn't have a solo, but it's franticly fast main riff makes up for that in full. It also adopts lines from "The Willing Well III: Apollo II: The Telling Truth" and "Blood Red Summer" in "What did I do/To deserve all of this? /What did I do/To deserve all of you?" 03. The Hound (Of Blood And Rank) - this one begins with an eerie synth effect quickly joined by a very bluesy, echoing guitar riff. From there is the exciting build-up to the chorus. The chorus serves as a good example of very effective vocal layering. A very strong track with a fitting solo, this one just rocks. 04. Feathers - the opening guitar sounds is very reminiscent of Van Halen. This is the first pop-y song on the album but has a lasting impression as a great song. The vocal building in the chorus ("Right now/Hide your feathers on the back porch, baby/He's coming home for you've/been/such/a li-iar...") is a line that will easly stick itself into your head. Another perfectly fitted guitar solo, as well as an infectious ending line ("Wait a minute, little back porch lady/In in love") makes this softer pop song as strong as all of the other tracks. 05. The Running Free - you've probably heard this one already. An ominous opening riff balanced out with a catchy chorus easily make this the first single off the album. I found this song easier to listen to on the album than just by itself. 06. Mother Superior - live videos of this song have been floating around since April, but the album version blows all of them out of the water and into the void of the universe that our tragic hero is doomed to destroy. Layered with piano, violin, and the electric guitar, this song is truly beautiful. This one works similarly to "Light and the Glass" with an acoustic intro that gradually adds a second guitar, and violins, until exploding with drums and soaring, multi-layered vocals in the chorus. It's also interesting that the album version has a different arrangement than the live acoustic version, and the part with "Mother Superior/Go catch the rabbit, he runs..." is actually put near the end after the second chorus. Slight changes in the different parts ("They know you're just a boy/So grow up and be that man!") make this a masterpiece. 07. Gravemakers And Gunslingers - another straight rock song, a bit heavier than "The Hound (Of Blood and Rank)" in that Sanchez adopts the darker vocals. This song is sort of a heavier "Ten Speed" with the alternating vocal pattern in the verse. This was the second song released before the release of the album and clearly demonstrates that Coheed knows guitar solos and is not afraid to use them. This song contains one of my favorite lines from the entire album: "You've got the gun/I've got the bullet/(Don't wanna live no more)/Oh baby, be my lover/Go on and pull that trigger!" 08. Justice In Murder - a quick drumstick count of "1-2-3-4" and BAM! It's Iron Maiden! The intro riff is very Maiden-esque, as well as the chorus, with it's repeated line "There will be justice in murder!" Combined with a killer solo, this song feels very '80s rock. 09. The End Complete. I: The Fall Of House Atlantic - a forboding instrumental track that combines a frantic, classic-style fingerpicked riff, ringing crash cymbals, a constant floor tom pounding, and an ominous vocal chorus that leads into the maddness of The End Complete. 10. The End Complete. II: Radio Bye Bye - further builds on Coheed's ability to crank out awesome, unique riffs to create outstanding rock songs. A frenzy of "oh-ohs" and "woahs" make the interlude of this song one that easily gets into your head. While somewhat pop in feel this, too, is as strong a song as any other on the record. 11. The End Complete. III: The End Complete - "awesome" is a word that comes to mind many times during this nearly-eight-minute song. This one has one of the coolest drum beats, in my opinion. It's very epic, especially with the crash explosions and soaring vocals that are the the chorus. A creepy riff picks up with the second verse that adds to the power of this song. Heading towards insane, Claudio picks up with a vocal style that is similar to the verse of "The Velorium Camper III: Al The Killer". A slower pace combined with a great taping solo ensues. Making another reference to a past Coheed song, the pace quickens into a frantic, palm-muted riff accompanied by the chanted "woahs" from the track "In Keeping Secrets of Silent Earth: 3". The song ends with a soft fingerpicked part and Sanchez crooning "We're going to get you, my love/Let your rabbit go run..." 12. The End Complete. IV: The Road And The Damned - picks right up and serves as a song I would fully expect to hear as a slow song at Prom. It has the strong feel of a ballad, with soaring violins and lead guitar to make the chorus. It's a different sound for the band, but pulls off very nicely. 13. The End Complete. V: On The Brink" can you say "blues"? If not, you will. Sanchez adopts a very bluesy, almost-whimsical vocal style for the final musings of the story. After a few minutes, the song turns to strictly piano, then turns a bit darker with a keyboard riff that sounds sort of familiar. From here is a somewhat repetitive interlude of heavy guitars and a consistent "Hey!" from Sanchez. Then we're back to a jazzy piano part that gets lighter, lighter, fades. Snare, kick, kick, snare, kick, kick, bam! It's The Final Cut! The all-too familiar riff kicks in full gear accompanied by an amazing guitar solo. The album finally ends abruptly, and we are left to reassemble our blown minds. This is definitely the best album that's come out all year, hands down. It's been a long wait, but it was worth every second of it.