IN REVIEW: Coheed and Cambria - "The Color Before the Sun"

The list of current bands who have made careers out of grand, conceptual storytelling is very small, and Coheed and Cambria arguably sits atop the heap in terms of overall commitment and success. Over the course of their previous six albums (I count 2012/2013's Afterman double shot as one), they dedicated their craft to the telling of The Amory Wars, an incredibly complex narrative that only the most ardent fans have sought out understanding of. Some of those fans were apprehensive about The Color Before the Sun, the first Coheed and Cambria record to step away from the main saga and instead showcase a more personal side of Claudio Sanchez lyrically.

It may be perceived as a risky move, but in actuality it turns out pretty much the opposite. By focusing on the songs and not the story, there's a far more inclusive hue to The Color Before the Sun. Sure, it's risky in the sense that the band have taken a breather from the story that's driven their entire career, but that won't matter to anyone who hasn't invested themselves into The Amory Wars anyway. Besides, not working within a strict narrative structure has freed the band up to create the most immediate record they've ever done.

They've always been prone to giving themselves to big, melodic choruses (hello, A Favor House Atlantic), and The Color Before the Sun is full of them. Lead single You Got Spirit, Kid goes long on melody and touches down with one of the most infectious choruses you're likely to hear this year. It's unabashedly poppy, a trait I myself found unbecoming as recently as two years back (2's My Favorite 1, Afterman's conclusion, left a bad taste in my mouth initially but I warmed up to it a bit). However, it's done with such confidence and in such unapologetic fashion on You Got Spirit, Kid that it's far more endearing than it is offensive (that said, it is also the most playfully profane song C&C have done to date).

This is not to say that the band have completely eschewed their prog roots. This is a record that is unquestionably more accessible than their previous work, but there's still room for the faithful; enter The Audience, a six minute behemoth that addresses those fans' concerns with a metallic, roaring prog stomper. Eraser packs a punch too, but in a more straightforward, hard rocking manner that even sprinkles a few "ooh-ooh"s in among its crunchy riffs and soaring choruses.

The most defining characteristic of this record, though, is its heart; much of Sanchez's lyrics reference his love for his family. Atlas is a touching and heartfelt epic that addresses (and is named after) Sanchez's son, while Here to Mars pours it on a little thick but is nonetheless a heartfelt expression of all encompassing love for his wife. Ghost is a sparse and beautiful acoustic tune that reminded me of Brand New's quieter moments (which is never a bad thing for a band to do), while album closer Peace to the Mountain uses strings and horns to help coax out its emotions.

The whole thing is set into motion by opening track (and current single) Island, a song that rides in on a simple acoustic melody and revs itself up into a full bodied, radio ready riff fest. It's admittedly sugary, but undeniably effective in its straightforwardness, resulting in perhaps the album's most unassailable melodic highlight.

Detractors be damned, above all else The Color Before the Sun is a fun record to listen to, and I applaud Coheed and Cambria for stepping outside their comfort zone and into some comfortable songs. There will be plenty of time to go back to The Amory Wars, plenty of complicated musical twists and turns to explore, and lots of new characters to meet and critique. As this record argues, though, Coheed and Cambria can be just as thrilling, intriguing and rewarding when they're not
telling a story at all.

October 16, 2015 • Everything Evil/300/Atlantic
Highlights You Got Spirit, Kid • Here to Mars • Island