Recent reviews have slammed this album, but the artists the reviewers use to draw comparisons show they really aren't the intended audience. For some reason one or two tracks have been getting airplay and everyone seems to be expecting some pop-alterna-whatever band. The most accurate comparison to date has been with Rush. The vocal comparison is obvious, as well as the "epic" rock sound on numerous tracks. The lead singer, like Geddy Lee, can grate on one's nerves, but the dramatic variation in the music will make up for it for some people. One doesn't need to get heavily into the storyline to appreciate the music. However, reviewers comparing this band to the likes of Blink182 or the White Stripes obviously don't have a clue. Someone bought them the wrong album for Xmas because they saw it on MTV. This is not a teenybopper band and has been around in one incarnation or another for nearly 10 years. The title track is about an epic battle being fought against all odds and the narrator knowing the participants will die soon, and someone says this album is "prepubescent teens whining about women and life"? This is not a band for the faint of heart, and you will either love it or despise it.

First of all, I'd like to purge this review of morons. That means, if you are an avid fan of emo or punk rock, do not read this review.

Great! You've made it this far. On to the review! The first mistake people make when basing an opinion on this group is that they insist that they are emo. While, at first listen, this generalization may seem valid, I can assure you it is now. 'Emo' is a genre of music dedicated to heartbreak and depression. If the music sounds like emo but doesn't pertain to either of those categories, it's probably not emo, but really gay punk. Coheed and Cambria are neither.
I think CoCa are the antithesis of emo. That is, there is absolutely nothing personal about this album. The underlying premise behind the album is about a post-apocalyptic war in the distant future and the highly science-fictional characters involved. If you can relate heartbreak to futuristic space wars and an evil called the "Monstar," then you probably take acid frequently.
Now for the album! The CD itself is full of complex arrangements, strange time signatures, and a number of key signatures. The vocalist, Claudio Sanchez, has a voice that is sometimes described as effiminate and whiny. I am, personally, a big fan of a powerful falsetto, and Claudio Sanchez most certainly delivers this. Unfortunately, however, he is otherwise incapable of a powerful vibrato. But hey, you win some you lose some. As for the whiny part, I have to disagree but, that is simply my own personal opinion; I do not find his voice to be whiny at all.
While the majority of the music's actual is upbeat, this often does not coincide with the actual idea being expressed in the song. This is a mistake on CoCa's part. The music, despite maintaining a fun and upbeat quality, actually proves to be dark and haunting. I say haunting simply because of the strange effect that Claudio's voice seems to have.
The guitar-work, also written mainly by Claudio, is somewhat complex. Granted I am a huge heavy metal fan (Opeth, Children of Bodom, Death, Emperor), I am somewhat of a guitar freak. These guys are nowheres near as complex as the majority of what I listen to, yet I love them just the same. When someone asks me what I think of CoCa's skills as musicians, I simply say, "They are very good at what they do."
I do not recommend this album to hip emo kids, nor do I recommend it to rebellious punks who shop at Hot Topic. This album is for people who enjoy musicality and depth. If you are a fan of bands like Rush, King Crimson, The Mars Volta, or Opeth, I think you will enjoy the definitive sound that is Coheed and Cambria.

Coheed & Cambria, despite their cheesy comic book geek image, is actually a surprisingly talented band, with a sound that's difficult to categorize. Although they are often labeled as "emo", they have a sound that I would describe as being much closer to progressive rock. They have much more in common with bands like Rush or Dream Theater than anything labeled as "emo". However, I still have no idea what exactly "emo" is supposed to be anyway. I originally thought it was meant to be melodic hardcore, like Glassjaw, but these days, the term is often used to describe bands like Good Charlotte and A New Found Glory, as well as bands like Weezer and Jimmy Eat World. And yet, none of these bands have much of anything in common with each other, or with Coheed for that matter. But, I digress.

Anyway, this album, whatever you want to call it, is a huge, sprawling, well-accomplished epic. The musicianship is tight and complex, but never detracts from the songwriting. The band has a strong pop sensibility, which balances out nicely with the progginess. Any arrogant music critic who insists that progressive music can never contain emotion, melody, or catchy hooks would be hard-pressed to cling to those cliches upon listening to this.

Frontman Claudio Sanchez is the most prominent feature of the band without a doubt. The only thing more attention-getting than his giant fuzzy afro is his distinctive and, well, weird voice. He sort of reminds me of a cross between Michael Jackson and Geddy Lee, and as vile as that combo may sound, it actually works quite well. Granted, I do have to be in just the right mood to listen to them, but he contributes some really great vocals here.

The flow of the album is excellent as well. There's a great balance between short, poppy tracks and sprawling prog epics. The title track gets things started in true over-the-top space rock fashion, with wicked time changes, the rousing "Man your battle stations!" chorous, and a huge Maiden-like choral arrangement at the end. "The Crowing", "The Light and the Glass", and the 3-part epic "The Velorium Camper" are equally huge and enthralling, and the massive hidden track "2113" (hopefully you know what song this pays homage to) is where the band reaches their full-on prog rock peak. But the band excels at shorter, catchier songs as well, like the vaguely 80s Rush-like "Three Evils", the bouncy "Blood Red Summer", and the Maiden-meets-pop of "A Favor House Atlantic". Nary a dull moment throughout.

So anyway, yeah. This definitely isn't for everyone, but I'd say it's worth a try. Just try not to take it too seriously. Shed your inhibitions, break out your toy plastic light saber, and crank it up.

There are a few things you should know before you consider anything else about Coheed & Cambria. First of all, they cannot be pidgeonholed under categories like emo or pop-punk. Anyone who actually gives them a listen will realize that 1) The songs have none of the sappy, broken-hearted lyrics that turns most people off to emo and 2) The music is far too technically accomplished and complex to be anywhere near "pop-punk."

Secondly, a number of reviewers have castigated the album because they find the lyrics "weird." Not only is this a ridiculous reason, it can be easily explained with just a little bit of investigation. Coheed & Cambria's songs follow a sci-fi story that the lead singer, Claudio Sanchez, is publishing in the form of a graphic novel series. One has already come out, but it covers only the first bit of the first album.

Finally, many people take issue with Claudio's singing voice. Yes, it is high-pitched. No, you may not like it. But don't discount it simply because others do. He has an incredible range, and is one of the few vocalists able to live up to the standards set by recorded versions of songs during live shows. It is not whiny. It is not emo. Stop branding everything in sight with inaccurate labels.

Now, regarding the album. I first saw "A Favor House Atlantic," the record's first single and arguably most popular song, on MTV. I immediately picked up the album, and was absolutely blown away. This is a concept album of an incredible scale. The pacing, transitions, variety of sound, and consistent quality create an overall polished quality that is extremely hard to pull off considering the content. Many bands these days come out with a debut album, are picked up by a major label, and then come out with a sophomore effort that, while good, is clearly overproduced. IKSSE: 3 is not one of those albums.

If there is a label that fits Coheed & Cambria, it is progressive rock, and yet their music is poppy and catchy enough to draw in fans that don't enjoy some of the mainstays of progressive rock (bands like Dream Theatre). Most of the songs have a surface addictiveness, but when you dive a bit deeper, you discover things that are indicative of a lot more than pop. I play guitar and can attest to the difficulty and intricacy of most of the riffs on this album. The band's musicianship is formidable, especially considering their age. And their live show does not betray this picture; Coheed is one of the tightest live bands around these days.

A mention of Coheed & Cambria usually produces a polarization among those present. Many can't stand Claudio's voice, and thus don't enjoy the band. Others eat it up and vehemently defend any claims against the group. I am clearly a part of the latter group. However, detached from this bias, I recommend Coheed & Cambria as a talented and professional group, and IKSSE: 3 as an incredible record that is different from anything you've ever heard. At least give it a listen before you judge.

Coheed and Cambria's "In Keeping Secrets of Silent Earth: 3" is one of the best albums of the past few years. It features great songwriting, unique singing from Claudio Sanchez (and by the way, what does it matter what the he looks like? He's good at what he does, and I commend him for it), and fantastic playing from the band. The lyrics are very violent when you look at them, especially on the tracks "Three Evils (Embodied in Love and Shadow)" and "Al the Killer", as well as near the end of "The Crowing", but since the CD is such a masterpiece, this doesn't bother me. The best songs on the album are "In Keeping Secrets of SIlent Earth: 3" (great ending), "Cuts Marked in the March of Men" (very catchy), "The Crowing" (great harmony at the end), and "The Light and the Glass". The rest of the songs are great as well, especially the pop-oriented "Blood Red Summer", the catchy single "A Favor House Atlantic", and all three songs in "The Camper Velourium" series. "Three Evils (Embodied in Love and Shadow)" is another good, albeit disturbing song. "The Ring in Return" is merely an intro, and the bonus track "2113" just isn't my taste (although I do like the ending), but that's just my opinion. This is definitely one of the greatest, most original albums I've listened to in quite a while, and I recommend it to anyone who has a CD player and an open mind.