Band of Horses - Infinite Arms (2010)

Artist: Band of Horses
Album: Infinite Arms
Date Released: May 18, 2010
Genre: Indie/Folk

Album Review:

Band of Horses recently delivered arguably the most anticipated album of the year for the indie world. I've received mixed opinions about this one, however. At the Guardian, Dave Simpson seems to be highly impressed, saying that it has "a much bigger, more spacious sound has been achieved without sacrificing intimacy or their old elemental sense of wonder". On the other hand, HighlanderNews remarked that Infinite Arms "isn’t a progression as much as a regression". Chris Locascio, the author or the article, wrote that Band of Horses haven't changed much except for a loss of bite and edge.

Unfortunately, I agree with Chris. Band of Horses left SubPop Records, and with Columbia Records, has a chance to reach a wider and new audience. Bands normally either change their sound to ease this transition, or keep the same winning strategy. Unfortunately, Band of Horses seems to have done neither with Infinite Arms, an album that goes in one ear and out the other, mellow to the point of losing identity. There is no bite or edge; the vocals are softened, the guitar licks are not as soaring, and it is an overall softball in comparison to Cease to Begin and Everything All the Time. I feel that this band of horses should either keep their unrefined, glorious sound that helmed indie pop, or they'd better be put to sleep.

Rating: 6 out of 10

Song-by-song:

Factory: Cease to Begin started with one of the best songs to ever be heard. Factory is a nice attempt at opening the album, with a nice melody, but it doesn't cut it as a song that draws a possibly new listener.

Compliments: This song has a very interesting flair. Upbeat and quirky, this one was released as a single. It passes the driving test, otherwise it can easily be overplayed.

Laredo: This could better suit as an opener to the album, with nostalgic vocal lines and charming guitar riffs.

Blue Beard: Reverb and vocal echoes fill this song, but it doesn't feel half as rich as songs like Funeral or Is There a Ghost, ones that explode during the chorus.

Way Back Home: A song with much musical interlude and high range vocals from Bridwell make it an enjoyable listen, but again, nothing much stands out.

Infinite Arms: A tragic title track. Might as well dig your grave from this point on, fellas. (interestingly enough, however, after Infinite Arms their first two albums both made their appearance on the UK top Hits chart).

Dilly: With a funky keyboard intro and Brit pop-like vocals, this song changes mood to something more light hearted and springy. Adding a "y" to things make them more fun. Imagine the title "Dill". Nah...

Evening Kitchen: The slow song of the album, I suppose. I gotta admit that Horses' vocal harmonies are unparalleled....except by Fleet Foxes, perhaps :P

Older: I can tolerate the steel guitar in this track, as it strikes quite a different chord. Instead of a country feel, something akin to an "oldies" feel is presented. I'm not much for it, but it's a good song in itself.

Trudy: Another slow song. Dilly proved to be misleading, and so does the rest of the album, it seems. Take it for what it is, but it isn't much.

Northwest Apartment: Very upbeat, and perhaps the most distortion i've heard in any Horses song. This song is one of my favorites off the album.

Neighbor: This song was almost unbearable to listen to, as it seems to go nowhere. I did enjoy the lyrics however, ambiguous as they tend to be. plus, after the 3:30 mark, the song picks up, and for a cruddy album, it had a very nice outro.

Envy on the Coast - Lowcountry (2010)

Artist: Envy on the Coast
Album: Lowcountry
Date Released: March 30, 2010
Genre: Pop Punk/Emo/Alternative Rock

Album Review:

Driew nialp tsuj si siht (this is just plain weird). Here is a band who has jumped in a completely different direction, from the emo/punk scene to something resembling southern rock (hence the album name, perhaps). And yet, they haven't completely shed their old skin. Stuck between two worlds, Lowcountry is either an attempt to bridge two different styles or an attempt to demolish both.

RottenTomatoes says this about Lowcountry: "The tempo has drastically slowed with almost every song based on heavy, often funky rhythm section that starkingly resembles Incubus and Red Hot Chili Peppers in their most streamlined mode. Bass guitarist Jeremy Velardi along with the band's vocalist made to play drums, Ryan Hunter seldom fall victim to routine delivering an array of varied groovy passages. Guitarists Brian Byrne and Sal Bassio steer clear of distorted riffs in favor of clean sound. In consequence, the guitar tracks are way more stylish, moody, not to mention impressive bringing the band's southern rock fascination to the foreground. "

I couldn't disagree more. I ripped into this album with little to no expectations of what i'd hear. In fact, i'm not very well acquainted with Lucy Gray, or Envy's other songs. However, this album has made a person who absolutely hates country hate it more. The influence is subtle, seen in certain vocal twangs, short guitar licks, but it's nevertheless there, and despite its attempts to grace the listener out of the previous idea of Envy on the Coast, it pulls no punches and ends up injuring the listener. With religious references that can only be described as "intriguing", and with a lack of catchy hooks necessary for the rock arena, this album captures the side of the coin that many artists neglect; it has interesting content, good flow, and identifies with the "style". However, the songs just plain suck. It sounds like a group of under-produced amateurs smoking cattails in Alabama who then decided to write songs about Jesus and praying. This one was a disappointment for me.

As far as the empty content, it seems to be a concept album of the southern-gospel lifestyle and its woes. Take the messages how you like, the lyrics did amuse me for a bit.

Rating: 5.5 out of 10

Song-by-song: (I seriously do NOT have the heart to do this...maybe the album will grow on me)

Death March on Two, Ready?: With twangy guitar licks, this song starts out Lowcountry. There's the same screamy-singing style seen in Lucy Gray, and overall....yeah that's pretty much it.

The Devil's Tongue: With lines like "fuck the sin right outta me", a lot of bitterness is expressed in this song, marking an overall rejection of desiring religion and prayer. Another bleh song musically, however. Still not getting into this album..

Head First Into the River: With what some might call "experimental vocals" (I find it at times close to Closure in Moscow...mmm that's good), one of the tastier tracks greets the listener.

Puritan Dirt Song: I must admit, there is an attempt at compensating for horridly country like songs with clever lyrics. "I'm a sinner in the hands of a God that could use a good laugh". I smiled at that one.

Laugh Ourselves to Death: Short and sweet. Not sweet enough though, with interesting lyrics but an unrelenting bass line. Curiously absent is the guitar that drives the song along warranting such a short running time.

The Great American T-Shirt Racket: Another short song that went in one ear and out the other. I seriously almost forgot what I was going to write about it after replaying it twice. I guess that in itself is a proper evaluation.

Southern Comfort: Unfortunately, i'm not from the South. This droning dirge provided no comfort for me.

*: A little interlude regarding phone messages. This one was kinda funny. I wonder if this was candid recording of someone drunk or not.

Like I Do: Hands down, easily my favorite song on the album. The layered vocals give a really interesting sound. This song is a slower one, so no driving rhythm guitar is needed. Instead, a haunting organ and bass line floats along, disguised within the album, but definitely should be seen as a diamond in the rough.

Numb: I like the intro to this song, with the lasting cry "I can't feel a thing". There's still that obnoxious southern accent to the song, but it is not as cringing. Overall, one of the better songs.

Made of Stone: Some boring song about Jesus not being able to sing. Is this album over yet?

Clean of You (Contains Non-Indexed Track Just South of Heaven): one of those incredibly annoying 35 minute songs, where the last 2 minutes contains some super extra special track. The chorus of Clean of You was pretty explosive, and mellowed out to a few minutes of silence, where Just South of Heaven kicks in. And that's when I kick this song.

Bad News (Bonus Track): This song is a mix of the new and old Envy on the Coast, I like it to say the least.

Spinal Cords (Bonus Track): Figures that i'll like the bonus tracks the most. This one was enjoyable for some reason, even though the style was similar. The song structure was less chaotic, and there was a solid chorus.

Clergy: A slow acoustic melody, and very natural too, to the point where I wonder if country is the foundation of Envy's music, and punk is the addition? I enjoyed this one, nice singing and nothing too crazy.

Company of Men: A very slow and chill-out song, unfortunately under 2 minutes however. The lyrics are also interesting, as always. I will give Envy credit for that.

Crystal Castles - Crystal Castles (2010)

Artist: Crystal Castles
Album: Crystal Castles
Date Released: May 24, 2010
Genre: Electronica

Album Review:

What can only be described as an alter-ego to Crystal Castles' first release, this (regrettably confusing) self-titled sophomore exposes a darker, more aggressive side of this electronic duo. However, in a sort of Cut Copy groove, their sound has overall matured and developed into a fairly cohesive set of tunes. And by aggressive, I also intend to note that Alice Glass is really breaking glass here. To quote RA Reviews, "Alice's voice still sounds like it needs some WD-40 on some of the early cuts. But later in the record, she chirps and purrs, too. She's older, I guess". I agree, it's a little too abrasive at times, but for some of the songs it fits well.

Oh, and let me clarify that the LP is cohesive in the sense that it blurs together into one 53 minute song, and though it's one of those good-yet-forgettable albums, it lacks any real 'plot', so to speak. The emotion is pretty haphazard and maybe even chaotic.

So what started out as a fairly positive review, ended up as a slow sigh of disappointment. It's an enthralling album, but it has its faults. Die-hard fans won't be phased by anything I have to say, but my opinion? Brush over this album, and keep the first one in your favorites list. The two don't belong in the same league.

Rating: 6.5 out of 10

Song-by-song:

Fainting Spells: Radio static starts this album, and what seems like a crow singing underwater...oh wait....yup, Alice Glass. The song has an overall haunting feeling, but no depth.

Celestica: This song is the opposite, with plenty of reverb, those Cut-Copy-esque vocals, and I can foresee this one being a popular play.

Doe Deer: And with an intense amount of feedback and banshees, we grin and bear it. It's only 1:38 long. And the more you listen to it, the more it draws you in.....to the point where you start to enjoy watching your grandmother pole dance. SKIP.

Baptism: With some neat keyboard fills, this trance pulls you almost completely away from Doe Deer....until Glass sings again. And again, the vocals' poor representation is almost forgivable because of how catchy it is. No fault of Ethan Kath, just a poor idea.

Year of Silence: I am not sure if the lyrics are indecipherable or foreign...anyhow, there certainly isn't any silence on this track.

Empathy: A very spacey song with enough reverb to show me a sonogram of myself slightly conceals Glass's voice...to my dismay, because I highly enjoy her voice when it isn't an ultrasonic frequency.

Suffocation: Another song that shies away from the chaotic, and towards the tried-and-true instrumentality pioneered by Daft Punk and others. As soon as it comes in full force, it begins its descent and outro. A very enjoyable song indeed.

Violent Dreams: A very low-key and chill out tune, with the bass eat hardly noticeable, and lofty synth carrying the whole song through.

Vietnam: I do like what the Castles have done to the vocals on this one, I like it a lot. I could explain it, but it's worth a listen for yourself. A beat equivalent to a drum march sustains this song, before it explodes into that infamously tagged "elevator music" sound.

Birds: This song was a pretty heavy one, and it also carried a dark tone. If by "birds" they meant "carnivorous vultures", then the song title is very fitting. Otherwise, it kind of gives the listener a daze, even after a second listen (that's a good thing).

Pap Smear: If Crystal Castles EVER had a "sound", this song best personifies it. Admirers of their first release will find a home in this song, with that crystalline synth sound, and that middle ground between soft ambient vocals and harsh shrieks provided by Alice Glass. I can sense another hit from this one.

Not In Love: What could very well be an accidental remix of an 80's pop song (fittingly titled, by the way) follows behind Pap Smear. The warbled vocals got on my nerves, and so did the synth for that matter. I'm not a big 80's person I guess. But seriously, the vocals are too souped up.

Intimate: Electronica is not my forte. But if you toned this song down and added quirky audio clips, I swear that this could slide as an M83 track. I like its minimalistic yet full tone.

I Am Made of Chalk: If you rewinded a casette tape of a lion singing underwater, you wouldn't be too far from copying the glorious vocal effects witnessed on this ending track. But surprisingly, I am really drawn in by it. This is not a bad ending track. I'll let you judge this one for yourself.

Animals As Leaders - Animals As Leaders (2009)

Artist: Animals as Leaders
Album: Animals as Leaders
Date Released: April 28, 2009
Genre: Experimental/Progressive/Instrumental

Album Review:

I have always been a fan of groups like Meshuggah, Scale the Summit, Periphery, and such "DJENT" music. This album, however, took me by surprise and blew me away. As the full-time project of Tosin Abasi, former guitarist for the band Reflux, the music is impressive on several levels. The complexity of the music and its ability to delve into some really deep, bassy riffs and emerge again with lofty and celestial licks shows how diverse Abasi can be with utilizing his 7 string bass and electric.

There's a song for everyone on this record, and I mean that in a good way. I don't think I can properly stress the diversity of this album. It is truly avant-garde, and I can only hope that this is the future of metal.

*DISCLAIMER* No your ears aren't broken, and you're listening to the right songs. There are NO VOCALS on the album, just like Periphery's instrumental release (though that was semi-purposeful, as their old singer left to pursue pop song writing...yuck).

Rating: 8.5 out of 10

Song-by-song:

Tempting Time: With a really spacey, glitchy intro, the listener is greeted with not only a good presentation of Abasi's skills as a bassist/guitarist, but is an aggressive and fitting intro track.

Soraya: Bridging the gap between ambient and metal, this song is on the lighter side, and kind of resembles something Satriani would do. Definitely original though.

Thoroughly at Home: Very DJENTey, this song will please Meshuggah fans, carrying a deep sound and using unconventional timing for the time signature.

On Impulse: Another lofty, light song, with very talented soloing and tapping throughout.

Tessitura: This word is translated as "texture", and it refers to the vocal range of a singer, usually in opera. The song climbs, almost like practicing scales.

Behaving Badly: Starting out with a xylophone and synth, one already knows that mischevious behavior is occurring here. The song explodes as it goes in, and though it's taken a while, this track has grown on me.

The Price of Everything and the Value of Nothing: The title of this song made me smile, and so did the song, almost conveying without words the essence and emptiness of things, as it crescendos and then diminishes.

CAFO: My favorite track. Very heavy and in your face, and also has some of the most intricate tapping on a guitar i've ever heard. Tosin Abasi, you are a beast.

Inamorita: The beat and intro to this song is very catchy. The subtle background noises add to the song as well, though it's a bit long for me to savor it, passing the 6 minute mark.

Point to Point: A soft, clean interlude, or so I thought...the distorted 7 string kicks in and leads into another short song...

Modern Meat: No idea what this title is referring to, but this song is nice and low-fi. It has a very jazzy sound to it.

Song of Solomon: Unfortunately, despite the diversity, i'm feeling a little bored at this point (maybe because i've listened to this album 5 times in a row?). But this song shakes that out. The synth output on Abasi's awesome custom RG, the song has a very neat sound to it. Good ending track, I must say.

Nevermore - The Obsidian Conspiracy (2010)

Artist: Nevermore
Album: the Obsidian Conspiracy
Date Released: June 8, 2010
Genre: Doom Metal, Progressive

Album Review:

I've never listened to much doom metal, much less anything from Nevermore. Thus, I can't really speak in terms of their older music. However, many references have told me that this album is definitely the crown works of the band. There is such a full and majestic sound that makes even the most foreign visitors to metal smile at the beauty of the music. The riffs from Loomis are unmatched in technicality and beauty, and Warrel Dane's singing fits the music very well.

Don't box yourself into a style. The aggressive, fast-paced anthems with the morose and somber dirges mold into one Obsidian Conspiracy that you don't want to miss!

Rating: 8.5 out of 10

Song-by-song:

Termination Proclamation: This is easily my favorite song off the album. In fact, I was about to discontinue this review on account of keeping this song on replay! The opening riff is so strong and intense that it drives the listener forward, propelling them into the rest of the album.

Your Poison Throne: With the repeated cry to "rise, rise, rise", a haunting feel is added into the mix. It was a nice tie-in from Termination Proclamation.

Moonrise (Through Mirrors of Death): With an intro resembling This Dying Soul by Dream Theater, this song starts out raging and pounding, but by the chorus, things slow down to really focus on the heaviness of the song. There is that haunting feel in the words spoken "is this soliloquy or psychosis, or self-hypnosis?".

And the Maiden Spoke: Once again, the song seems to take you one direction (in this case of a slower, calm melody), but the song explodes into a rampage about some mysterious maiden. I officially love doom metal.

Emptiness Unobstructed: Definitely a slower ballad, and stays that way. There has been some question about whether the band is Christian. I am not completely sure, but lyrics like "within the cold absolute, the cold brutal truth", there are at least Christian ideals represented.

The Blue Marble and the New Soul: This song is slower in sound than Emptiness Unobstructed, but I wouldn't call it the slow song. It seems like a continuation of the previous song. Beautiful.

Without Morals: On a different note, another heavy riff and warning lyrics greet the listener in Without Morals "without morals we wither, we might as well be gone"...

The Day You Built the Wall: As a shout to one who is relentless in destroying themselves, I think this song is very creatively written. Definitely that progressive rock feel to it.

She Comes in Colors: Looking back, perhaps I would prefer one or two more fast-paced songs, but looking back again, I like how melancholy this album is. This song is acoustically-filled, haunting, and then explodes into angry and explosive riffs and cries. A great song.

The Obsidian Conspiracy: I don't like it too much as the ending track, but it is an amazing title track. I first listened to an instrumental version, and that alone blew me away. With the great vocals and words by Dane, this song is another favorite! Well done Nevermore, you've made a fan of me!

Keane - Night Train (2010)

Artist: Keane
Album: Night Train
Date Released: May 10, 2010
Genre: Alternative Rock/Indie

Album Review:

It's a shame that Keane has been consistently nudged into becoming Coldplay's successor. As a result, Keane has shied away from the melancholy dirges of Hopes and Fears, and took all of us by surprise with Perfect Symmetry. Night Train is their attempt to further make the stride into the pop world, combining upbeat synth tones and guest singers together to make an urban, contemporary sound. MusicOMH explains further:

"So, where 2008's Perfect Symmetry may have seemed over the top, Night Train takes that progression and amplifies it in a natural direction, adding a bit of dance-pop and hip-hop flair to the piano-based palette."

Having listened to the EP through a few times, I agree. It is very poppy and stands out even moreso than Perfect Symmetry did. And that bothers me a little bit, because a band shouldn't have a forced change to their sound to get out of a schema. Anyhow, before I go on a completely useless rant, I will say that this album marks a new stride for Keane. Whether it was a stride in the right direction or not is a tough and highly debated question (but the answer is no).

Rating: 6.5 out of 10

House Lights: As an intro track, it is a deceptive one. It is very minimal, and almost feels like you are no a night train, heading into a dark tunnel.

Back in Time: This song changes that mood. Its Interpol-like sound coupled with the synth and upbeat chorus warm the listener for what's to come.

Stop For a Minute: The obvious single off the EP is the height of Keane's progression into pop culture. With K'Naan offering lyrical lines, and the hand clap in the background, this song is a standing memorial to Keane's step forward. Although it's catchy, it's not what Keane really became prominent for. Must all bands take the pop route upon acclamation? I suppose I miss the old Keane is all...

Clear Skies: This song, in a nostalgic twist, is akin to their old aspirations. The falsetto in the chorus is done well. Possibly my favorite track.

Ishin Denshin: Ishin Denshin is a Japanese term, meaning that it is honorable to communicate with unspoken communication and not use straight talk. This song has a quirky 80's sound, with the line "see how the world goes around, you've got to help yourself". In addition, it guest features Tigarah, a Japanese singer. I deeply enjoy this track myself.

Your Love: Again, an intro that resembles The Birthday Massacre makes me scratch my head for a second or two. This is a nice mellow song.

Looking Back: ROCKY. ROCKY. RROOOOCCKKKYYY. GONNA FLY NOW. Trust me, once you listen to this song, Bill Conti is the only thing that will go through your head. That is all I can say about this song.

My Shadow: The slow song of the EP, and is more Keane-esque than any of the other songs on the album (yes, I will deny their new personality in favor of Hopes and Fears). Good ending to the EP, it makes me feel like i'm on a train going home past midnight.

Veil of Maya - [id] (2010)

Artist: Veil of Maya
Album: [id]
Date Released: April 6, 2010
Genre: Deathcore/Technical Death Metal

Album Review:

This is easily the shortest LP i've ever listened to. Eleven tracks...29:10 total playing time. And it's also one of the most boring albums for a tech death band. Were the essential components there? Let's see...fast double bass and blast beats? Check, with songs like Dark Passenger and Resistance showing some nice drumming virtuoso from Sam Applebaum. Intricate guitar lines? Check, and there's the standard vocalist-with-lead-guitar for death metal seen here as well with Marc Ukobo. Deep growling vocals? Check, and there was also higher pitched screaming as well.

So what's the problem? To be honest, i'm not sure. I've listened through it several times, and it has grown on me, but it's grown kind of like the mold sitting in my roommate's trashcan, not really like a masterpiece of music does. One could attribute the album's weakness with failure to find good album flow, failure to give emotion and strength to songs (or mismatched emotion; as I will explain, many songs have forlorn music coupled with explosive and angsty vocals), or intense repetition. But i'm just rambling now. However, I can appreciate the band's great talent, shown moreso here than their previous releases. For metal fans, i'd say that if you must listen to this album, stream it on Grooveshark, or heck, just torrent this baby, it can't be that big of a download anyway.

Rating: 5 out of 10

Song-by-song:

[id]: who makes a title track the 43 second intro to an album? It just seemed weird to me. Anyhow, this intro starts with a haunting feel, progressively getting heavier and flows right into Unbreakable.

Unbreakable: this song is actually one of my favorites. I give VoM props for the flow of the first two songs. This song has a neat, albeit repetitive riff interspersed throughout. There's something akin to a breakdown around the 50 second mark.

Dark Passenger: This song has a really boring riff in the back, despite the technicals that take too long to come in. The drums, if given an ear, sound very good, but otherwise this one I didn't like too much.

The Higler: I had to Google what a Higler was. It is a person who sells provisionals from door to door. You learn something new every day I guess. This song has some complicated riffs, and an even more complex drum pattern. This is one of the better songsm even if that doesn't say much.

Martyrs: An interlude that I think could have made for a better intro track than [id]. But like I always say, you get what you get.

Resistance: Resembling Meshuggah-like breakdowns in between, this song has a lilting guitar riff, giving this song a sad tone rather than what I think should be an angry tone to fit the name "Resistance"? Just my thoughts...

Circle: Another minute-long interlude, which they could pull off if their other songs were longer and filled with some rich technicality, meaningful choruses, and heck, i'll take guitar solos.

Mowgli: Like resistance, Veil has trouble getting a tone other than sad, mourning, or reposed. All their riffs seem calm and soothing, very different from other technical death bands like The Faceless or Obscura.

Namaste: This song, however, explodes with a dissonant tone, and is more edgy than the others. For the first 30 seconds anyway. If they stuck with the intro pattern, they wouldn't have gone wrong. The breakdowns almost redeem its sad state, otherwise, this one could be easily skipped.

Conquer: More sad guitar riffs. The bass line I could hear also was using a minor scale, and it just didn't fit the growling and screaming. In fact, i can't get a grasp on the vocals without matching music. That's my opinion anyways.

Codex: The ending track. Same problem as most of the tracks. Repetition, mismatched emotion, etc. But the intro did fit what would be an ending track for this confusing album. Thank God it was just 29 minutes long...

Coheed and Cambria - Year of the Black Rainbow (2010)

Artist: Coheed and Cambria
Album: Year of the Black Rainbow
Date Released: April 13, 2010
Genre: Experimental/Progressive

Album Review:

I never got on the Coheed bandwagon, following the other-worldly tetralogy in the albums, or even glanced at the novelization of it (which, in the box set will be released with this album for the first time, here on Amazon). But anyone with ears can marvel at the music. It is quite hard to analyze them using any conventional means, considering that no other band really embraces "space rock", as they are fondly tagged as. But let's see....they are Xbox Live's Artist of the Month, and have won MTV's Musical March Madness, upsetting My Chemical Romance. I feel that much more acclaim is in store for Black Rainbow in the near future.

The album is a prequel to the others, setting the stage for Claudio, the protagonist of the story. And like I previously stated, while one can deeply examine and follow the story, the music itself is just brilliant. Former Dillinger Escape Plan member Chris Pennie shows his golden talent in this album, and as a Dillinger fan this draws me to have some more personal interest. As for the music itself....well....

Claudio tries some more brash vocals in this one, seen in upbeat songs like "Here We Are Juggernaut". the music has a heavy electronic influence not much seen in the older albums. It's a fresh sound, and more resembles Muse in its approach and style. But it's definitely still Coheed. This album passed the driving test, so Coheed fans shouldn't miss this one!

Rating: 7.5 out of 10

Song-by-song (including bonus tracks):

One: Bringing us to the forefront of the album is, for lack of a better word, an empty intro track. Pretty dead if you ask me...let's hope for a better track...

The Broken: With crazy interludes and familiar vocals, this is more like it! They should've chucked One and had this as an intro.

Guns of Summer: There's the electronic influence I was referring to, seen here. Something about the vocals in the album seem under-produced, not sure why that is...

Here We Are Juggernaut: The single off the album, this is one of my favorite tracks. An appeal to young spirits: "nothing matters anymore, so here we are juggernaut". I like the synth in this one.

Far: I don't know the story, but this prequel seems to have a heavy love story intertwined within it. On the previous track: "this is not your playground it's my heart"...a good slow song.

This Shattered Symphony: Here is an example of the more abrasive vocals. Not liking this one much though.

World of Lines: There are those Dillinger drums starting us off. The vocals still sound a little premixed...but I like this song, it's nice and upbeat.

Made Out of Nothing (All That I Am): The irony in the title makes this a friend of mine, one of the better songs off the album.

Pearl of the Stars: Slow song off the album, another love song of sorts (again, I don't know the story). But it's no Always and Never.

In the Flame of Error: Very Muse-like introduction here, something akin to Knights of Cydonia. But then Sanchez's vocals yell unique brilliance, and you know the rest.

When Skeletons Live: Another trippy song, one that feels like you're listening to it underwater. That doesn't make sense at all. I know. I'm talking to myself.

The Black Rainbow: running at 7:35, this song reminds me of the four-part song "the End" from Good Apollo. I must say this one has too slow of a start for my taste, to the point of me skipping it twice before sitting through all of it. But, at 6:04 it abruptly cuts off and regains my attention. Very nice.

Chamberlain (bonus): funny electronic noises. I like Coheed's direction very much. Even though this is a bonus demo, it's one of my favorites off the album.

The Lost Shepherd (bonus): Same with this bonus track';it's not officially on the album, but I adore it so much!