Coheed and Cambria became a household name a few times in their career. Their hits “A Favor House Atlantic” in 2003, “Welcome Home” in 2005, the use of the latter in the animated movie “9”. And their diehard fan base of the music as well as the graphic novel never let them fade away. But the band is enjoying a bit of a resurgence as each tour brings bigger venues and more acclaim. The 2018 release of Vaxis I introduced a new story in the so called “Amory Wars” universe the band is famous for, and it’s sprawling 15 song (almost a full 80 minutes of music) was a bit much to digest, even for diehards. A new concept and some memorable hooks, but a lot of the vibe was set creating this prison planet known as “The Dark Sentencer”, and setting up the story of our two characters and their son. Now out imprisonment and on the run, the music was ready to soar along with them.
Vaxis II returns 4 years later, not only at a different place in the story, but in the world in general. COVID hit, as well as political turmoil, and personal growth in main songwriter Claudio’s own life as a father. It’s impossible for all these elements to not get put into this album. But Claudio alongside the other three members have created an album that seems more than ready to be unleashed upon live audiences who are ready to mosh and sing their hearts out.
The album starts with an orchestral reprisal of “Old Flames” from the previous album. From here the album charges through a whopping 9 songs all under 4 minutes long. These songs are quick, upbeat, well produced, layered, and straightforward. In other words, modern pop/rock. But that’s no surprise from a band that started in a pop punk style and added the progressive elements over time. It is almost an attack of catchy choruses, the antithesis of Part 1’s more brooding and atmospheric approach.
From the big anthemic chorus of “Beautiful Losers”, to the almost In Keeping Secrets feel of “Comatose”. It pushes through to the extremely heavy verse riffs of “Shoulders” before dropping another ear candy chorus your way. “A Disappearing Act” has a wonderful electronic element throughout, reminiscent of Muse or later Depeche Mode. It’s a slow and subtle transition as the mood of the album changes without you even knowing it, but this is followed by the equally electronic “Love Murder One”. Instead of bluesy hard rock riffs of “Shoulders”, we’re now treated to funky bass in the background. But be clear, if I spent the whole time talking about all the subtleties of every instrument, this would be a much longer review than it already is!
“Blood” slows things down a bit and has that perfect industrial influence that Year of the Black Rainbow had on its ballads as well. But this is quickly picked back up with “The Liar’s Club” which has the best parts of Vaxis I with it. “Bad Man” goes back to that modern electronic vibe combined with Claudio’s soulful vocal styles of the Afterman albums.
“Our Love” is a beautiful ballad that showcases Claudio’s voice, before electronics come in towards the end. This downtime makes way for the triple threat that closes out the album. “Ladders of Supremacy” is the first long song, and has a very progressive feel to it, seemingly returning to the style of “The Willing Well” and “The End Complete” for the first time since those albums. For Prog fans like me, it’s a welcome track that could have honestly been longer, but should make for an excellent addition in the live set.
“Rise, Naianasha” returns to upbeat and catchy style of the earlier songs on the album, but has some progressive and dissonant tendencies during the chorus. But the title track “Window of the Waking Mind“ goes full progressive again, with 5 very different sections, including an orchestral reprise of the “Old Flames” theme, perfectly bookending the album, as well as allowing the story to continue.
For a band who had made nine albums that were all very good and very different, it should be no surprise at this stage that they’re going to keep pushing themselves, try new things, and put out great records. But for me to like this one so much more than it’s predecessor is a testament to Claudio’s sense of storytelling, and the band’s continued inspiration with all styles of music. It’s clear they listen to heavy metal, blues, pop, electronic, and listen to their producers for new ideas (the one who worked on this one has worked with countless major artists as well).
All in all, this is an infectious album that will be great on your first listen, as well as on repeated listens as you continue to discover all the layering and tones. Good for a musician or fan of music alike!
View of the Sunrise 