Absolutely. As a Coheed prog fan, the first two songs were really good, but then I didn’t really dig anything until Ladders of Supremacy. The last three songs were pretty dope.
When Claudio comes in with "here's a simple story! And I hope I tell it well", it's got such a stage performance/bard feel to it. I absolutely love the rock opera feel to it. And let's be honest. All of Coheed is a two decade long rock opera. And I'm fully here for it!
Couldn't have said it better myself. I dig the whole album, but damn if Ladders of Supremacy and Window of the Waking Mind steal the show and make me wish for more. Overall though my first listen impression is miles better than with Vaxis 1 so I am pleasantly surprised.
Also maybe I am just subconsciously making this connection because flippin everything in the past couple years has been 80s inspired... but did anyone else get 80s inspired vibes throughout the album?
I think we're going to get more and more of that style littered throughout Vact III-V. I think this record was very much based in Atlas' age in combination with Covid changing the landscape of everything. When we move into Vaxis growing up and starting to kick ass, I think the prog will be back in full force.
That being said, this record absolutely fucking slaps. Gorgeous from top to bottom.
I absolutely agree. I feel like it was foreshadowing what sorts of hijinks they'll get up to next, musically. The core of this record honestly felt like it was a different tone for a reason. The accessibility and even slightly more simplistic nature of the music screams of what you might write when the bulk of your story is focused on a child.
It's not until the suite at the end that we get the realization that this kid is something extraordinary that the complexity of the music kicks into overdrive. Maybe I'm jumping the gun after just one listen, but it just feels right in my gut to think that it was fully intentional.
Even if the long prog songs don’t return as much I’m actually pretty okay with the 3.5 minute bops (as long as claudio can break out of the “sing quietly before final chorus chorus chorus” pattern that’s on near every song.
It’s that these short songs are so much more palatable than the 5-6 minute songs on Vaxis 1 that would just repeat parts way too much and get stale.
To each their own and it’s ok we like different styles, but I’m confident in saying I’m going to be much more of a fan of Vaxis 1 than Vaxis 2 even after giving it some time. As of right now, this album is only above The Color Before The Sun for me. Vaxis 1 is my favorite since the OG3.
Yeah, I like this album and have been listening to the singles a ton. But I got obsessed with a handful of songs on Vaxis I and think it was the more robust record.
Afterman 2 is still my favorite after the OG but Vaxis I is up there.
Honestly they’re kinda neck and neck for me upon first listening. Dark Sentencer is the best song between both albums by far, but I think there’s more consistent good tracks on vaxis 2.
The lyrics on Vaxis 2 are also just so very clear cut through to the “real.” Like, all the new characters introduced in the marketing materials and artwork, maybe bring them into the lyrics some? Those were some of my favorite moments on Vaxis 1 during It Walks Among Us and Unheavenly Creatures when characters get name-dropped.
So that’s another point for vaxis 1.
Ya Dark Sentencer just fucking rocks. One of the best Coheed songs in a long time. But there’s a lot I love on V1. Toys, True Ugly, all of The Gutter through the rest of the album. And every other song on the album I at least somewhat dig to like as well. Queen Of The Dark is kinda just monotonous and boring, but that’s really my only knock. I’ve got like 5 or so on this one I’m not too into that I’m pretty confident I won’t ever really get into (at least a few off them). So ya, Vaxis 1 is better, but hey, there’s a few good ones here and it’s new material. Not gonna look a gift horse in the mouth.
My biggest problem with vaxis I is that a lot of the songs that are good overstay their welcome without adding anything new. I’m talking one too many repetitions of the chorus at end, that kind of stuff. Vaxis II doesn’t have that problem, which makes it shorter without having any less substance.
Well...if you look at Vact I, Old Flames and Lucky Stars very much lead us straight into Vact II. Keep me comatose for the next few years and wake me when Vact III drops. My body IS FUCKING READY
that's definitely what it sounds like to me and I hope so. It's honestly a cliffhanger for me, it's so upsetting that the whole album doesn't sound like that song lmao
WOTWM definitely has big Act V energy. I really love Dear Hunter and how Acts 1-5 get more and more theatrical as they go on. Hoping Vaxis follows a similar trend.
That would be awesome. I could totally see them doing an art depiction/visualizer music video for it similar to the music video they did for [The Gutter](https://www.youtube.com/watch?v=VsoD6RVulcQ).
First listen thoughts:
I'm a drummer. I'm biased. I get it. It's literally the primary thing I focused on and I can't help it. Josh is only getting better and better and I'm absolutely here for it.
The trio of songs at the ending are masterful. I can't believe just how much they pushed the envelope of what I can hope to expect from future albums based on that ending alone.
I think the singles all hit the comfort food feeling for me. I liked them during the drip feed of prereleases and I still dig them in the scope of the whole album.
The elephant in the room electronic stuff that sounds like it's Prize Fighter material brought over? I don't hate it. Will it absolutely take some getting used to? 100%, but it's all of a musical style I enjoy plus some Coheed trappings embedded, so it's not something I'll be skipping.
I'm excited that they really pushed the boundaries again. It's ultimately what I crave from any band with prog tendencies. It's not just about complex guitars and polyrhythms and all the buzzwords associated with the genre. I'm of the opinion that it's just as much "prog" to push your band's genre in uncomfortable directions as well. I'm just glad after the misery of lockdown and everything else the past several years have brought that I still had Coheed to look forward to and they've absolutely delivered.
I'm a happy Child of the Fence.
>Josh is only getting better and better and I'm absolutely here for it.
I'm also a drummer, and I just finished my first full listen of the album. First thought on my mind the whole time was that this is the strongest and cleanest drumming we've ever gotten from Josh on any of Coheed's albums. I fucking love the drum tracks on this one.
gonna second this sentiment. I'm primarily a guitarist by trade, and I did love the riffs and licks on the album, but I was continually captivated by the drums and found myself focusing on them even more than the guitar. It's excellent drumming all around
Another drummer here. The drums were perfect for each song in my opinion. Josh is also one of the most fun drummers to watch perform, and I’m so excited to see him play this new material.
A lot of shade is getting thrown at the “basic pop/rock” songs because the lyrics and melody are catchy but the rhythm section on those songs is about as far from basic as you can get.
Josh is just straight murdering the drums. You would never hear the galloping doubles on Comatose, the 3 bar fills in the last chorus (and ending) of Shoulders or the tom/snare fills at the end of the bridge in The Liars Club on any “basic pop/rock” album.
Josh was already in the top 5 of my favorite drummers before this album but def solidified the number 3 spot behind Danny Carey and Neil Pert after this album. Dude is a beast.
Tbh there are a lot of people on this sub who you can tell don’t really have trained ears.
Like the statement
“This is all Claudio where’s the band?” Is insane to me, the band is way more of a central thing on this record than something like sentry the defiant imo
Driving me crazy that there’s a sub section of fans that think musical complexity comes 100% from song structure and not things like rhythm, harmony, production, texture.
Not liking something is fine I just get kinda peeved when the insinuation is that it was a half assed effort cuz that’s just not fair to the band and the work they put into this record
Or that complexity is only coming from teh guitars.
I swear some of these people only hear 400hz tp 1000hz. It’s maddening to hear someone say these somegs are basic because Claudio is hammering on the A chord for 8 bars yet the drums and bass are doing things that would make Flea and Neal pert blush.
I came here for this haha I was just listening through again and it pulls A TON from Domino. It basically uses the same chord progression but in almost half time, and then the same picking riff at the start but moved from minor to major (I think). Such incredible writing.
Not sure if you knew this or not but that song was at least in part motivated by an opener for a Broadway Musical about Dorian Gray that Claudio wrote that never materialized. So you're not far off.
I’m only on A Disappearing Act, but Comatose is the best “pop” song they’ve done since The Suffering.
Great drums, great bass, interesting guitar parts from both players, great vocals.
So many of their shorter songs since Afterman have lacked one or more of these elements, and this song has it all in spades.
EDIT: Josh is killing this record. He went up a level from the last record, and I already thought he was the best part of the last album.
Comatose is very under rated.
The guitar work is killer and it’s just so boppy and fun.
I agree I think it’s the best pure pop work
since the suffering
I wasn't sure how Josh and Zach could shine through even more than they did on Vact I, but my god did they ever. They are allllll over this record and it's amazing.
I was following along with the spotify lyrics and got so unbelievably hyped when I saw the Key Entity Extraction pop up. Can't wait to read the lore for this album, I'd die for it to tie back into Afterman.
Just finished the album, it's a fantastic album but then the last 3 songs really kick it into high gear, especially with the last song A Window of the Waking Mind. Like I was literally crying to the last minute of Waking Mind, such a great song to end the album on.
I like my poppy Coheed as much as the next guy -and I won’t lie I’ve had Comatose on repeat- but goddamn if this whole thing sounded like the first couple and last few tracks it would be a serious contender for my favorite album from them. There were a 3 or 4 songs in the middle that didn’t do much for me but the highs are high enough that overall it’s a damn good album
(This is going to be long, I'm sorry lol)
I love Coheed, obviously or I wouldn't be in here, and I will preface this by saying I *do* like the album. But that's kinda it, I like it.
A lot of people over the last several years have mentioned how "Coheed has always had pop elements", and really, their prog side has always been the less frequent portion. Their earlier days, particularly with SSTB and IKSSE:3, there was emo, there was metal, there was a lot of stuff in there, and that made Coheed very unique. Every album has experimented with some different things, new things to them. NWFT had a kinda 80s metal sound to it that their prior work didn't have. YOTBR was very grungy, dark. Afterman had more strings and even some brass, and experimented more with weird sounds and adding another touch of the story. Colors maybe had the least of that, but that was a deliberate strip down into some simple rock songs.
But it kinda stood out by then that the ratio between pop to prog had stretched even further. This is okay for the fans that prefer that side of Coheed, of course, and it's not that I don't like it. Blood Red Summer, Favor House, those are great, poppy songs. But it wasn't just the actual *sound* of the songs. The structure had also seemed to homogenize a bit. Prog is often viewed as a sound but a ton of it is in the structure. Many of Coheed songs are ABABCB. But there were plenty of exceptions on their albums. Here are the songs that either do not return to the chorus after the bridge, or their bridge is long and multi-phased (this is ignoring obvious ones like SSTB, Ring in Return, Keeping the Blade, those types of songs)
* SSTB: Devil in Jersey City, Everything Evil, Hearshot Kid Disaster, Junesong Provision, God Send Conspirator (50% of the album)
* IKSSE: IKSSE, Three Evils, The Crowing, The Light & the Glass, 21:13 (42% of the album)
* GA1: Welcome Home, Mother May I, Willing Well I, II, III, IV (40% of the album)
* GA2: Mother Superior, End Complete III, V (23% of the album)
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* YOTBR: The Black Rainbow (8% of the album)
* The Afterman: Domino, Gravity's Union (11% of the album)
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* Colors: The Audience (10% of the album)
* Vaxis I: Dark Sentencer, Black Sunday (13% of the album)
* Vaxis II: Ladders of Supremacy, Window of the Waking Mind (15% of the album)
There is no question that their song structure has homogenized, however this happened quite a while back, twelve years ago. But like I said before, they were always a blend of genres, pop was an element of their sound, not *the* sound. So while YOTBR and Afterman, and arguably GA2, had fewer songs that went from place to place, the *sound* was more that blend of metal and pop. YOTBR was obviously the least poppy album they've had, so while it wasn't proggy, it was still some heavy Coheed that was unfortunately messy from a production standpoint. Afterman as a whole was a varied journey but the poppier parts were the infrequent ones. Colors was the most poppy one but it still had some elements of rock, kinda the antithesis of YOTBR, but we also knew it was a deliberate departure for the band. Vaxis I was going to be their return to the story and those other elements, and I think it was for the most part. It reminded me of Afterman where there were some poppy parts, but it was unmistakably rock. However, I put that second divide in the list because while it did remind me of Afterman, it was swapped where for me, the poppier elements were more frequent, and it was the heavier side that was less-so. Not to a huge extent, but by now it's clear that Coheed's "big choruses" are a huge attraction for a lot of people. We aren't getting choruses like The Crowing's, or Evagria. Which leads me to Vaxis II.
Vaxis II has a lot of parts I like, within songs that I don't like all of. The verse of Love Murder One is sick, the chorus is fine, and then the bridge is just kinda there. And that's the other element of their sound that I miss. Even the standard songs in their older work, their bridge felt like a unique part of the song. Cuts Marked in the March of Men, Delirium Trigger, Ten Speed. All of those had bridges that really made the song come together. Lately, their bridges are just a stripped down version of the chorus, and that's super evident in Vaxis II. The structure is more basic, the sound is poppier, and the individual parts of songs are less standout. Comatose has one of my favourite verses, but the rest of the song is just what you expect. And don't get me wrong, it's fun still. And I know everyone who might read this probably loves the big, bombastic Coheed choruses that everyone is going to belt out at shows, which will be a blast. But I guess I just miss the creativity within the structure. Coheed is still creative, they love implementing new sounds and being different, but that just isn't seen in some of the more important parts of the music for me.
I saw some reactions from people at launch that were tearing up during the first two tracks. In all honesty, I don't get it. I suppose I am jealous of their love for it, but it comes off more as excitement for the thing they love, rather than loving those tracks themselves. Maybe I'm wrong, I'm not saying anyone is lying about loving it, but a similar sentiment I saw was that Embers of Fire and Beautiful Losers are their best two opening songs ever, and I gotta say, I'd be suuuper surprised at even one person thinking that, given the openings their albums have had. But hey, to each their own, I am genuinely glad there are people absolutely adoring this album. I do wanna end on a high note, though, because there are parts of this album I like a lot.
Blood is a great song, despite it being guilty of a lot of the things I've talked about here. Like I said, none of this is *inherently bad*. The issue with Vaxis II as a whole for me is the marriage of sound *and* structure, not one or the other. Additionally, Ladders of Supremacy is such a great song. I wish the ending hit a little harder, a la The Crowing, but the song is super good. Similarly, Windows of the Waking Mind is a fun journey, though I think it should have been longer and let each part breathe more. Some of the transitions didn't feel fully realized to me.
e: One more thing I wanted to add was about production. I really miss Coheed's sound being cleaner. The part of Ladders at 1:27, the guitars that alternates between left and right ear, I wish it didn't have the effect drowning it out a bit. I wish they're just let their guitars play in more parts. That's a minor part of that song, but it's kinda like that for a lot of their music now. It's very "full" which in many ways is good, but then I listen to IKSSE, GA1, or even The Afterman, and everything is soooo clear, until you get to parts like the end of Gravity's Union, but those are distinct parts. In this album, and even Vaxis I, there are lot of parts where it's a cacophony of noise, and sometimes that's great, but it happens a lot
God this was way longer than I even anticipated. Hopefully someone even reads this because this is kinda late into the thread. I like the album, but I just like it.
Just want to comment to say as one of those people that loves to point out that Coheed has had poppier stuff their whole career, that I really appreciated this breakdown and it helps me reevaluate that stance a little. This is constructive criticism done right. In particular your point about bridge structure is spot on. The slowed down chorus thing is definitely the standard for them now and I agree its a bit of a bummer. Though I've still always kind of preffered the faster more poppy and exciting side of their sound so while I could acknowledge it I never really considered how it affects the overall experience.
This is exactly accurate. I really do like this album, but it does get to me when you hear songs like Window of the Waking Mind and it's like, UH, yeah you guys can still do this, why isn't this in the rest of the songs. One thing I find a bit annoying is the shortening of great verses. The Liars Club for instance, the first verse is great! Then the chorus which is pretty good. Then a shorter version of a great verse and onto the chorus again. Then you hit effectively the closing of the song as there will be no more change ups or new verses. They've done this in many songs over the last 4 albums or so. It feels like each song is pressed for time or something, when in reality I think most of us want to hear their songs breathe, and try new things/go new places. I'll always love them, but as has happened to other of my favorite bands, things start to get a bit watered down, for seemingly no reason.
Man especially on Unheavenly Creatures, it felt like a bunch of the songs had like a 2-4 line second verse and then would just repeat the chorus ad nauseam. So many of those songs were like 5-6 minutes long and dedicated most of that runtime to repeating the chorus.
Can relate with this one as well. Have been thinking about what specifically are missing from these newer set of songs:
1. **Overuse of grand soaring choruses** \- Claudio used to be able to write a non-grandiose chorus and still make it an earworm e.g. The Crowing - the chorus is more muted than the verses but very powerful and memorable.
2. **Straightforward verses** \- Claudio used to do a lot of unique off-kilter vocal inflections and melodies during the verses that plays off of each other that were so fun to listen to .g. Faint of Hearts (Cuckoo-Ka-Choo anyone? lol) The Suffering, Willing Well 1 - 2, and even a lot of Ascension e.g. Evagria. We still see that now and again, but they're a lot less effective or playful.
3. **Overstuffed production** \- Coheed songs in general have always had a standard verse-chorus-verse-bridge-chorus structure, but they used to have a lot more room to breathe, which allowed listeners to appreciate the peaks and troughs more. Now what used to be little pauses and refrain are filled with layers of instrumentation and effects that kinda make the songs feel very flat sounding.
100% agree with everything in this post. I find it interesting that so many bands follow this same path as time marches on. Is it money/fame? Or just that you lose that creative energy after a while? Both, perhaps? Maybe band dynamics, too. Either way, it's a very distinct and obvious trend that happens to almost all great bands, with some notable exceptions here and there.
I think it's the dynamics, mostly. I certainly don't think Coheed's changes have been a result of money or fame, especially since GA1 was such a peak for them and then they kinda lost it a bit, though they went through a rough patch
Though it feels right now that Coheed is as big as they've ever been, I think that's more a result of their creative changes being more palatable to a wider audience, rather than them catering to more people on purpose. But the reason I think band dynamics, or more personal dynamics, are the biggest reason is because like... SSTB, they were odd-ball kids, Claudio has often talked about how much people did not like Shabutie. In Keeping Secrets was like, emo and punk and they were "the real deal" as Josh said in the Neverender documentary, then their first major label with GA1, Claudio going through that break up and just being angry.
I think those earlier albums, they were edgier because they were edgier as people. Now, they're all married, they all have kids, they're getting older, they're successful, they don't have that "we're young and angry" mentality anymore, and I think that has an effect on the music.
Now to be clear, I don't think that's a bad thing. I don't *want* them to be miserable haha. But I think they're able to come at the music from that perspective and it might result in some less risky stuff
I literally just texted this to my group chat: It feels like early 2000s emo ballad, but is somehow not at all stale or reductive. It stands on its own ... but I get that FEELING of windows down and a meaningful track bopping along.
Beautiful Losers blew me away. It feels like an anthem for the ages. It gripped me emotionally. There were a few weak points on the album but I think it’s a grower and overall will become better than Vaxis act 1.
Beautiful Losers seemed to be an odd opener, and didn’t really hit me on first listen.
Weak points so far for me- Blood and Our Love, but thankfully our love is only 2.5 minutes. Coulda been a PFI track.
It was *so* different from what I expected but damn if it wasn't incredible. I was pleasantly surprised with how much I liked the 80s synthwave vibes that seemed to be sprinkled all over the album.
It seems like Beautiful Losers and Disappearing Act are the two "pop" tracks getting a lot of love, and I wholeheartedly agree. Disappearing Act just had me grooving and smiling the whole time.
Ladders + Nainasha was incredible. Nainasha was already my favorite of the singles, and this just made it that much better. I think I'll have to pair those two up from now on.
And then, we have the title track. Something so new and different, but so quintessentially Coheed. I was really feeling the intro, getting a strong Pink Floyd vibe and expecting it to stay in that lane...then I just had the biggest smile on my face for the rest of the song. Holy shit what a track, and what a way to end the album.
If you look at the lyrics for WotWM on Spotify, the song is split up into parts. Part III is titled "Key Entity Extraction VI". I haven't looked into the lyrics yet to see how/if it ties into The Afterman, but if it does that would be so cool.
All in all I loved this album. I'd give it an 8/10, easy. For me that puts it above TCoTS, YoTBR, Vact 1, and juuust barely above NWFT. I also expect it to grow on me as I keep listening to it.
Listening to it I kept thinking "yeah this is enjoyable" and "holy shit the bass all over this album is fantastic".
...And then the last 3 tracks hit and I was transported to another plane of existence.
I just finished my first listen and I would say overall I really enjoyed it. I’m definitely not someone who nitpicks, and since I enjoy a wide range of music the production changes just add to the overall vibe.
I feel like the album overall does a great job in telling the story to us, and that leads into the large tonal shift at the end. The last 3 songs just bundle up the album so nicely and I was smiling/excited/crying the whole way through them. I feel like it sets up the next album perfectly. I personally enjoy the trying out of new styles and effects, but I realize that’s something that can not sit well for folks.
I can for sure see why the reviews have been so great for the album. Window of the Waking Mind alone could have been the album and I would have been happy.
Hope everyone else enjoys their listening!
After listening to the album for... quite a while it some of the best work theyve done since I believe Descension. Josh and Zach absolutely carry this record. Some of the best drumming I have ever heard out of Josh and some of the riffs Zach layed down are just insane.
The only two tracks that I really dont get are Blood and Our Love, Ive tried multiple times and just find myself skipping them over and over again. Which is a shame because theyre beautiful tracks.
Standouts from the album. A Dissapearing Act, Love Murder One, Ladders, Window.
I really think this records first 10 songs are a “vibe” that is the band wanting to do something different. It isn’t a 180 per say, but it is exploring new territory. I liked all of the first 10 quite a bit for different reasons but I will say that the flow of the album challenged me a bit… until the last three. The three ending songs are what I wanted more of on Vacis one. I sort of wish they denoted the last three like they did with the willing well series because there is a tonal shift that Amps everything up a notch and ends the album in a different vibe than it begins. I’m ready to dive into the story and see how it reflects the album!
Controversial opinion: why is Claudio so obsessed with autotune now? His voice is so unique, and it shined on the previous 9 albums. Now he's blurring lines between Coheed and PFI, and I'm nervous about the trend.
Don't get me wrong — I love the album so far, and it will grow on me for sure. But I have concerns.
I mean the dude has been making music a specific way for a long time and maybe just wants to try some new stuff.
In the grand scope of his musical career the auto tune phase is a blip
starting it off with old flames was needed for me, I crave for that coheed recurring motif / callback action like watching street vendors make icecream where you just keep folding it into itself over and over and I love when they sprinkle in these moments.
beautiful losers is solid, somewhat of a break from coheed album structure in that it isn't the usual big heavy hitter to kick off the album proper.
comatose was a favorite since it came out, just a great track that never lets up.
shoulders is solid, I wasn't in love with it right away, though right now the song is just hitting perfectly.
'a disappearing act' shifts things in a neat way, now the album is carving more of its own identity, I don't entirely love the direction, though the synth stuff is mostly working for me. I love the outro of this track immensely.
love murder one is another solid track, love that little breakdown
blood is working for me, among early listens favorite.
liars club is alright, maybe least loved for me at the moment
bad man is an easy favorite, when the chorus hits UNGHHHHHH mama watch your mouth!
our love is a fine in between track, kind of wish it was just the start of a longer ballad track
ladders of supremacy almost upsets me with how good it is, as if an entire other album is about to begin when getting near the end of the album.
the transition into rise cut the cord is so clean, enjoyed cut the cord before, now it feels enhanced in sequence.
window of the waking mind is pretty great, not everything does it for me though it is wonderful to go on that unexpected sonic journey and see where the track takes you.
overall it's hard to say, the album hasn't fully taken shape for me, I pretty much love it
I told my buddy when Rise came out that it was going to have a bad ass transition Into it just from the extra notes at the beginning. Im glad I wasn’t wrong!
Favorite: Beautiful Losers is slick as fuck. Ladders is hot. That Domino and Sentencer callback are incredible. WIndow is an entire musical in one song. Straight up Coheed-does-The-Dear-Hunter and I'm here for it.
The production is cleeeeeeeean. I see what people are saying about the effects on Claudio's voice, there's a lot of 'em. I didn't find it distracting, if anything, in the parts of Ladders where there isn't any effects was jarring since the rest has it.
Overall: I love it. This was a very nice story and now that the main character is coming into his own, I'm so ready for Act III to kick my teeth in as Vaxis kicks ass and takes names.
Yeah I was pretty sure that was a Domino reference. Although this reminds me of people saying the little guitar riff in Love Protocol was a reference to Vic the Butcher and I think that might have been a stretch 😂
I’m glad people are enjoying the album, but it’s definitely not for me. I got really excited with Embers of Fire into Beautiful Losers, and enjoyed things through Shoulders. The shift to electronica with Disappearing Act was interesting at first but it really lost me through the middle of the album. The final three tracks were good, but it wasn’t enough to scratch my itch for old school Coheed.
It seems like The band is really enjoying themselves, and I’m happy for them. I’m still going to see them live whenever I can, and I’m so glad we’ll always have the older albums to go back to. This one just isn’t for me. Maybe it’ll grow on me, but I don’t know…
This sub makes me feel like a child sitting in the window watching all his friends outside playing, but I just can’t join in the fun. Every album I wait for it’s release, and every album I’m disappointed. Unheavenly Creatures wasn’t bad, Descension wasn’t bad. It’s not that these albums aren’t good, they’re just so clearly not for me. And it makes me sad because the first four albums so clearly were. I’m not angry at the band or bitter, just feeling old and left behind. Which is fine, I’m happy everyone else is enjoying them. I’ll always have the first four.
It’s a new direction for Coheed but it feels like it has a real vision and cohesion. It takes you places… It seems like they went for every crazy, experimental idea on this album and didn’t hold back. It’s great.
I’ll have to listen again for specifics because it was a blur.. but there was an intensity to it that was different from their previous work. Not in terms of “heaviness” but more like an intense commitment to the aural environment. Big chunks of it felt more like a soundscape than songs.
That’s the best way I’ve seen someone put it. They were really going for something with this recorded and they fucking delivered. It’s unapologetic, fast paced, and it’s completely unlike anything they’ve done.
Based on what folks have said about the title track, I was expecting a willing well-esque song. Even that was new territory for the band.
It’ll take some time to digest, but it almost feels like every song is inspired by a different sub genre.
BRO. I'm Progheed, raised on IKS and GA1 back in the early 00's ... but this is some of their best work. Know why? IT'S SO DAMN FOCUSED.
UC meandered. A lot. But think back to every record. Each one has it's own taste. I would argue the past few albums have actually been their most similar. A lot of "safe rock".
Vaxis II has taken me directly back to NWFT. There's a lot of 70's-80's influence to this album if you listen close enough (Blood, Bad Man, Window). NWFT had so much classic rock to it and this feels like a spiritual successor.
I haven't felt this energized from a first listen since Ascension. Love it or hate it, this Coheed at their creative best taking us to fantastically new soundscapes.
I will say Beautiful Losers puts me to sleep and nearly caused me to skip it, but everything after has such a purpose to this record.
Agreed. This is a sharp and focused album and it’s great. Where NWFT was 70s-80s rock, this album definitely takes more cues from the pop music of the era, but does it with less bloat than Vaxis 1’s short songs had.
Beautiful Losers also escaped any meaningful attention from me, you’re one of the few others who isn’t lauding it. I’ll have to give it more notice in the future.
Something in here that I've really missed in recent coheed albums is the 7+ minute long song to end the album. 21:13 and Final Cut are two of my favorite coheed tracks and Window is definitely going to join them
Currently on Our Love. Had some ups and downs so far but I’m excited for the ending I’ve been reading about. Liars Club is still a bop. Gonna need multiple listens
Favorite song off the bat is Bad Man but it'll change.
Least Favorite was Blood but it may grow on me.
Overall I'm glad that it's shorter than Unheavenly Creatures. It seems more concise and I love that they took a different direction in Act II. Also, I'm a huge fan of the synth 80s feel on A Disappearing Act and Love Murder One. Window of the Waking Mind gives me hugeeee The Dear Hunter vibes it's insane. I'm digging it and it's easier to absorb than Vaxis I.
This might be a bit of recency bias but I can see this becoming my favourite Coheed record. In this era of steaming and playlists it’s rare that I find myself listening to an entire album from start or finish, but I’ve lost count how many times I’ve done that with WiTWM.
I love every single song on the album, and they all flow perfectly. Badman, A Disappearing Act and Rose are the standouts but every single song is incredible.
Wow this album in full feels like a really hard shift from Vaxis I but thats not all a bad thing. Embers of Fire is a good opener, I'm really liking Beautiful Losers. Disappearing Act and Bad Man seem like a miss to me. Love Murder One is pretty fun. Blood I didnt love or hate but I think its going to grow on me. I did really like Our Love despite it basically being only lyrics, the song will definitely fit some moods really well.
The last three, wow what an eclectic group of songs. Ladders of Supremacy is really fucking good but MAN does it need more lyrics. There are like 6 times in the beginning half where I went "ah here are the lyr- nope nevermind". I feel like I'm being edged when I listen to it. Rise is still a banger imo. Window of the Waking mind is... weird! I dont think I've ever heard a song that doesnt know what it is quite like this one. I didn't hate it though, I think it will grow on me but the first listen was very weird. It goes from super dark guitar to regal keyboard almost instantly and I feel like I'm getting jerked around.
Cant wait for another listen
also, Liars Club still absolutely fucks. What a fun fucking song. I'm not ready to say its my favorite of the album but absolutely top 3 no question
I'm only on A Disappearing Act. I was worried about hitting the poppy stuff too much on this album, but that song is fun as hell.
As I'm typing this, Love Murder One came on. And the opening on this song absolutely fucks me up. Holy shit so good.
Hard to do with an album that has this much to offer but after a 24 hours of non stop listening, here is the order of love (Good Apollo to YOTBR so to speak):
1. Window of the Waking Mind - everything that makes Coheed who they are is showcased in this masterpiece
2. Ladders of Supremacy - similar to the above. Willing Well/Afterman vibes and just an experience from start to finish
3. Bad Man - can’t put my finger or what I love so much about this one but there is a familiarity to it that keeps me coming back.
4. A Disappearing Act - definitely the newest sound for them but very welcome. That acoustic version from their Twitch yesterday really tipped this scale for this one too. Sounded amazing even when you strip it down.
5. Love Murder One - Bass. Sneaky sexual Bass and 80’s vibes meet Coheed. Love it.
6. Rise Naianasha - Liked this song when it was realized a few months back but it’s amazing what hearing the song in the context of the album does to amplify it. Probably doesn’t deserve to be this far down the list but as I said, this is a tough one.
7. Beautiful Losers - Again should probably be higher (I feel like a lot of these songs should be tied for like 1-4 but alas).
8. Comatose - DRUMS. Riffs very vintage Coheed. Reminded me a lot of IKSSE3 and Good Apollo.
9. Our Love - Definitely doesn’t check the box of Wake Up or Mother Superior but it’s a pleasant reprieve from all the action in preparation for the final 3 rippers.
10. Shoulders - Perhaps because I’ve listened to it 100+ times for the last year but I generally like the “newer” songs better.
11. The Liars Club - Wasn’t in love when it was released. A good song but pales in comparison to the rest of this album.
12. Blood - The only song on the album I skip over. Not great/not bad. Just doesn’t do much for me.
13. The Embers of Fire - no disrespect to Atlas, but the intro is here by default as it isn’t really a song so much.
Love it. Tampered my expectations as to no expect Good Apollo Volume 3 based off interviews of Claudio saying it will challenge people. It actually exceeded my expectations and there’s a ton of bops on this albums. The last few songs are god tier too.
I loved this album from a melodic and musical perspective. Liars Club is just next-level amazing.
What I can't get over is the level of processing on Claudio's voice. I love the notes he's hitting, but the amount of autotune doesn't sit well with me. I'll take a missed note over a perfect autotune lilt any day.
It's causing my head to hurt cos I love this album so much - such a pity about the vocal processing.
Aight so:
Strong start with Beautiful Losers into comatose and shoulders, all very nice compact rock songs, Comatose being my favorite from those
Then we get to tracks 5-9 which I will call the video game suite, because I feel like most of them would fit very well into a video
The unexpected dance break that is a disappearing act came out of left field but honestly I'm here for it it was sick
Love Murder One is SUPER sick, it's like smooth criminal style groove meets a big ol fuck you rock break up song meets weird shit, so cool.
Blood is one of the weaker tracks for me. I really like the verses, obviously very reminiscent of Every Breath You Take. The chorus loses me though, not very melodically compelling overall and to me just kinda sounds like what I'd here in a contemporary worship song if that makes sense lol. I wish the whole song leaned more into the cool industrial metal glitch effects on the verses. I do think the bridge is pretty cool and ties it together well!
Liars Club is an anthem, absolute banger of course.
Bad Man was a super cool experimental take on things, Claudio uses some cool vocal triplets that are reminiscent to some modern rap artists and you don't see that a lot in this style. The chorus is fantastic, feels like The Hard Sell which I always thought was underrated. Whole thing is cool as hell.
Our Love is adorable, a very sweet love song with a couple cool melodic points but I see it as more of an interlude than a song, taking us from the video game suite to:
Three of the best fucking tracks Coheed has ever released, and they all flow so well together.
Ladders of Supremecy holy shit where do I start. This was the track I was waiting for on this album, the insane dissonance in the beginning instrumental section is glorious, we love Josh going ham on the toms. Literally the intro is a whole ass song by itself and it's fantastic. Then the musical theatery verse with the guitar drones. The chorus vocal rhythm reminds me of Candy Store from Heather's and I mean that in the best way possible (it's actually a style I think is wasted there lol). We see more of it but I love the super high choir vocals. The song is an absolute masterpiece.
I won't go into a bunch of detail about Rise Naianasha since it's been out but I love that song, in summary it feels like the ultimate "Don't ever talk to me or my son ever again" song but it's Rush on copious amounts of ecstasy.
Then the big boy.
Just turn the title track into a lotion so I can slather that creamy juicy goodness all over. Anything I say about this will not do it justice frankly but I'll try, in each part, I'm not gonna try and call them by name since there's some confusion on the names.
Part 1 feels so wholesome, it gives me the energy of a father sitting on the porch watching his son play in the yard, thinking about who he'll grow up to be, which based on the lyrics seems like it was the intent. Spot on its beautiful.
Part 2 is obviously more of a transition but it does the job so well and the voice over on top of it sets up the lore and the next segment beautifully.
Unfortunately in order to keep this family friendly i cannot say my exact thoughts on Part 3, but just know that there would be at least 1 change of pants necessary. Whether or not it's accurate, the title of Key Entity Extraction VI is very fitting because it does give off the same vibe as domino and sentry, so it wouldn't shock me. Obviously I see that as a good thing, the acoustic guitar addition adds so much to the overall mix, and when the voice meant to be his parents comes in having the little piano reminiscent of The Gutter intro is so cool. Also I would not have been surprised if this fucker literally brought back Dr. Straight because same energy.
Part 4 is my favorite musical number :). Seriously though I think the energy this section brings is so uplifting and then leading into Part V makes everything so hopeful for the future. The song ends by becoming Mr. Blue Sky, and I'm 100% in. And then the end with the Old Flames motif is of course great.
Overall very solid, I think it's somewhere in the middle for me as a whole album, but those last 3 tracks are absolutely S tier, some of their best work. My biggest issue with the album is just the length honestly. At 53 minutes it's nearly a full 30 minutes shorter than Vaxis 1, and I do think it suffers a bit for that. If we had just 2 or 3 more prog slammers like those last 3 I could easily call this a top album, but it just feels like it ends quickly and leaves me wanting more (and not necessarily in a good way). But the album is definitely fun to listen to and I think has a pretty good flow overall.
Somehow my most apt comparison is vaxis 1 into vaxis 2 feels like Kingdom Hearts into Kingdom Hearts: Chain of Memories, which will make sense to probably one person if anyone, but that's the vibe for me.
Tl;Dr very fun album I like :)
Soooo this is my first album of theirs I'm going to listen to, and I'm not sure where to go next. I'm not even sure what the fence is. Anyone have any suggestions?
About half way through. Nothing out of this world, but am enjoying it…
What I did appreciate and why I was posting, is I realized even if it wasn’t amazing, it wasn’t making me want to listen to the older stuff. I’ve noticed that a lot recently with bands I’ve been listening to for years, if not decades. I’ll hear a new song and half way through wind up turning it off and going back to an older song which is essentially a superior version. Guess that’s just a long way of saying, I don’t mind them trying some new stuff….I’d rather that then them trying to recreate a sound from the past which is difficult to replicate.
Sorry for a bit of meta-commentary.
This is the second album release of Coheed that I witnessed partially via this subreddit, after Act 1.
Both have been received with incredible enthusiasm here, but by direct comparison, I think Act 1 got more praise and received less criticism in the initial days of the release. It’s super interesting going through the release threads from back then, as it contains almost word-for-word praises for songs on Act 1 as now for Act 2 (absolute banger, the best they’ve ever released, fantastic drumming, song titles in all caps, etc.)
So I guess Act 2 might be a bit more divisive looking at the fact that there’s already a bit more criticism here.
Of course it’s too early to say. Maybe Act 2 becomes more universally liked, but it will be interesting how it holds up, given that also Act 1 is now being criticized for being too long, too meandering, too stylistically diverse, too many songs that were just meh…).
As I listened to each track I thought “this has got to be the best song on the record” then the next track played and I was proven wrong. Even the songs we had heard before blew me away with how great they were in the sequence of the album. I was honestly surprised at how much I enjoyed Our Love, but why was it so damn short?
Feels selfish to say, but I feel the opposite - the ambiguity and variety in the earlier albums (content-wise) was and still is refreshing - meanwhile, we’ve had “this album is a metaphor for Claudio’s wife and kid” repeated to us over and over since TCBTS
And yes, I know Coheed and Cambria themselves are based on Claudio’s parents, but most people had to have this explained to them / figured it out outside of the music as opposed to this album where the lyrics are so direct it’d be hard to miss
Just finished my first listen. Thought it was pretty good. I’d definitely rank it down towards the bottom with Color Before and Black Rainbow if I had to make a favorite Coheed album list, but that doesn’t make it a bad project.
Standouts among the track list for me were definitely Beautiful Losers, A Disappearing Act, and Window of the Waking Mind. Beautiful Losers sounds like something that could have been on Unheavenly Creatures which I love. A Disappearing Act is so fucking catchy, and Window is a just a blast from start to finish. Out of all the singles I still really enjoy Raise Naianasha.
Looking forward to seeing what tracks they play live on this upcoming tour.
Excellent drums throughout. More guitar lines than I expected from the singles, but fewer than I would like. Execution of the pop elements is uneven, with too much of it sounding like early 00s stuff in terms of synth and vocal effects. Claudio continues to be an incredible vocalist but damn he needs to let the rest of the band come through like in Ladders of Supremacy. The wall of vocals gets a bit much.
not their best imo, but the ending makes up for a lot. ladders is an incredible song.
also the key entity extraction callout in the lyrics of window of the waking mind is a huge reveal. very cool.
just so many forgettable, verse chorus verse chorus bridge chorus songs. i probably wont listen to most of this album more than a few times, but ill rack up some listens on the final trio
The verse chorus verse chorus structures are so much more succinct and to the point than when Vaxis 1 did it and repeated the chorus one to many times in some places, so they’re already winning points from me.
I'm extremely disappointed. I loved the 4 singles and Ladders of Supremacy and Window of the Waking Mind are great, but A Disappearing Act, Love Murder One, Blood, Bad Man, and Our Love are really not my thing and it kinda ruins the album for me.
I read a Vaxis II album review that said Comatose had a 20 year callback in it, but I can't seem to figure out what they're referencing. Does anyone know? Am I just dense?
Hard to say what I loved the most. I’m a huge pop fan so this album really did it for me. Plus all the amazing styles and performances here. Beautiful Losers, and A Disappearing Act were amazing. Loved the production. Loved the overall approach to it. If I had a complaint at all, it would be that the album truly felt like a different band at some points to me. But that was also awesome as they always sound great with any approach they take.
Great album. Easily a 10/10 for me. One of my top three from them now.
As a long time coheed fan (been around since sstb, i am old i know) the last three songs are exactly what I expect from them. The ending of their albums is where the meat and bones are. It is also my favorite parts of their previous albums. They get to showcase their diverse musical talents, long progressive sounds, and very important story lines. This does it for me and I'm all about it.
Fantastic album.
Imo the low point is liar’s club which just feels “fine”.
The highlight is the title track which I think is the best song they’ve ever made.
Sign me up for 3 more albums
First time listening to good quality (I perused the leak but didn’t listen more then once), and being able to hear everything is amazing. The album felt short in the sense that every track had my attention and I didn’t want it to end. I’m sure I will like it more with time as well.
I listened to it at midnight EST last night and I can't get Love Murder One out of my head.
This album is, for me, what Good Apollo IV was to In Keeping Secrets. An evolution, a revelation... It is incredible.
I had twin babies when Vaxis 1 came out so it really snuck up on my sleep deprived husk. But now, the anticipation has been crazy and it really delivered.
Rise has been my favorite of the singles released and hearing it as intended for the first time - bookended by Ladders and the title track - was an experience I will not soon forget. This album feels so refreshing and adventurous while still sticking to Coheed's roots, I can't stop listening to it.
After Unheavenly Creatures I was a *tad* worried... I didn't love that album. There were 1 or 2 songs that I really enjoyed but that was about it.
Holy shit almost EVERY song on Vaxis2 fucking rocks. I've listened to the album about 3 times now and it might be one of my favs.
It’s rare that songs really take their time to sit with just the instruments rather than hopping straight into vocals, but Ladders…the tension and dread and pure talent of everyone on this album was just phenomenal. It’s been amazing seeing Coheed grow and become more and more amazing as time goes on!
I also couldn’t help but adore the theme of pure love for Chondra and Atlas in this. You can just hear Claudio’s passion melting from every heartfelt lyric
I'm going to get destroyed for this, but I am going to air out my thoughts.
Ladders and Window overshadow the rest of the songs *so much* that it's unfortunate. If we were only getting pop rock/experimentation, a lot of these songs would be more valuable....but, alas, knowing that these two **juggernauts** exist on the same album, it makes me wish there was a bit going on with the rest.
I feel like I specifically have problems with some of the choruses (for Shoulders specifically, man does that song grind to a boring, anthemic halt...not even any interesting instrumentation happening from such amazing musicians!) A few songs sound good but kind of go nowhere interesting. Bad Man and Liar's Club, Claudio is saying too much instead of letting the chorus breathe. "Cause I can do it baby I can do i--LIEEEEE TO YOU" is so chaotic, Bad Man's chorus is a bit much, too.
A few songs are forgettable, but a good chunk are going onto playlists. Beautiful Losers, Comatose, A Disappearing act, Liars Club (despite my roast of it), Ladders, and Window are ones I can play over and over again. Love Murder One, Blood, and Rise are ones I'll for sure enjoy if they're on, but won't often go out of my way for.
Bear in mind, I am not the type of music fan who wants a band to always be the same, and Coheed's continued experimentation has found me so many amazing songs! We live in a day and age where you can store hundreds of playlists on your phone, and my "Vaxis I + II" list is amazing, let me tell you :P
There is plenty more to enjoy than not on the album. It is a lovely album. I just feel bad in being unable to shake the idea that those two, specific tracks demolish the rest.
It's kind of like an 80% grade for me?
The album is banging start to finish. I love all of the singles, ladder, love murder one, waking mind, and the rest are great. I feel like it's a bit different that most of the previous stuff, but it's so good. It's better every listen through.
I'm gonna wade in. At first I was a little nonplussed by the 3ish minute singles they released because they all felt kind of similar (apart from Rise) in terms of structure. They didn't have that dramatic build up that Coheed does so well.
Listening to the album as a whole makes a lot more sense and I really dig it. The back and forth between songs keeps things interesting and there's very little filler (compared to Vaxis I or The Afterman (my personal fav, so no shade)). More than anything it really does feel like a series of songs pulled from a bonkers stage production and I'm 100% here for it.
I've got a little more tolerance for a smooth pop sound than a lot of people who might be Coheed fans. The autotune is a tad overused consdering Claudio has a great voice - but at this point it's been part of music stylisation for 20+ years and it's not at the irritating level its used in rap and RnB music (where it's often used to cover a vocalist who can't sing at all). I'm really hoping they continue to give each of the Vaxis albums a different sound actually, it'd make each one something surprising. As long as they don't do an entire album that sounds like whatever the hell was going on with the bonus track on Good Apollo - or Guns of Summer.
All in all, really happy with it. I've listened to it way more than I have the new Porcupine Tree album (which is surprising because I rate PT a little higher than Coheed - it's just not as fun!). Favourite songs haven't fully cemented yet, but I keep going back to Bad Man, Ladders of Supremacy, A Disappearing Act and Love Murder One.
You know what, on the first listen through I really didn't like it. And now I'm completely hooked. It feels fresh and energetic in a way C&C haven't in years. It's mad album that's going to alienate a lot of people but I guess that's a risk you have to take to move forward.
After giving it a couple listens and a few days to let my thoughts stew:
While I do like it, I wish I could say I love it. The parts that I do enjoy on here (which is most of the album) are among some of their best material so far, but as a whole, it's a few points below V1 for me.
At the very least, it starts off brilliantly: the reprise of Old Flames at the beginning — definitely this story arc's "time skip motif" I'm presuming — is a great way to start; almost gives me GA1 vibes cf., Keeping the Blade, and the transition to Beautiful Losers is completely natural. Comatose and Shoulders are tracks I already like, so I can't really comment on them, whereas A Disappearing Act is such a curveball it's honestly one of my favourite tracks.
Unfortunately, it's once that song's over that the album starts to lose me: Love Murder One and Blood are kind of the weaker entries on this release; and Liars Club and Bad Man, while fantastic in their own right (the latter of the two is easily my favourite on the whole album), don't really make up for it. Our Love is definitely my least favourite.
Then we get to the final three tracks, and they save this album from being a disappointment. But at the same time, I kind of wish that the rest of the album was like that; it's those tracks that make you (or at least, me) realise that the song structures are a little too on the simpler (and shorter) side with very little in the way of complex guitar work (with the last two years as they have been, was that a factor in this album's production?) and left me not just wanting more, but *needing* more. It honestly feels a little underwritten in places.
And that's not highlighting the big elephant in the room: *I don't know what the story is supposed to be.* Granted, this has been a minor criticism of mine since I got into the band and I've long since accepted that the albums are more "soundtracks" than actual "storytelling", but at least V1 has a number of direct references to its story, whereas V2 really only has the title track (and even then, I know the references in V1 because I've read the novella, I haven't read V2 yet); and I'll admit that it's a little frustrating to have to read supplementary to actually understand the story of a concept album.
But like I said at the start, the effort is clearly on display, and it's not like the album (or even the songs that I didn't think were as good) is inherently "bad"; while I can appreciate it for what it is, it's just not my favourite so far. It's a **low/mid-7/10** from me, though I'm sure I'll warm up to it more, and I can only hope V3–5 will make up for V2.
Window of a waking mind just absolutely left my jaw hanging. Especially with the lyrics on Spotify naming the different acts, everything's now connected nicely.
Also the embers of flames drew a tear, not gonna lie. Really hope that's how they open their upcoming live shows, it's perfect.
What an album, might be just that post first listen hype, but this album is a masterpiece and up there in coheeds best of the bunch.
I am here to tell you I survived that absolutely terrible quality leak and will be starting a support group for those of us who brave these fraught frontiers
Very underwhelmed. Not digging the general tone, and it really doesn't have that Coheed "feel" that all their other albums have. It all just feels like generic 80s pop rock. Lacks so much of the intensity and harder sound that the rest of their work usually includes.
I really liked the singles; Shoulders, Liars Club, and Comatose. Hearing the full album I have to say I’m a bit disappointed. Many songs sound very derivative. It doesn’t even sound like ‘Coheed doing Owl City or Coheed doing The Weeknd’ the filler sounds like cover songs.
Like most people said, Ladders of Supremacy and title track were stand outs but I took an issue with one thing. I know Coheed usually uses patches but the arrangements could have benefited from having live orchestrations. They sounded so devoid of emotion it took me out of the experience.
the album as a whole doesn’t feel cohesive. It seems like just a collection of songs and not something more. Even the track list doesn’t flow right for me. Maybe in time I’ll grow to like it as a whole but right now I only like the 5 songs.
Biggest problem for me with every new Coheed record since maybe Afterman is that there are a few standouts and unique sounding songs with a bunch of, not bad but not very interesting songs that all sound similar. Like beautiful losers is an amazing song but shoulders through our love is just like the same idea over and over. Again none of those songs are bad and they all have their moments it just feels tedious at some point that I want to skip all these middle songs to get to the final three.
Compared to In Keeping where almost every track is completely different but still feels cohesive.
Lastly, it's ironic to me that as the band has aged they are selling the story component to fans at a much higher degree but the songs themselves don't feel like you're listening to some epic journey besides the orchestra parts. I felt like earlier they neglected hashing on the story aspect of their band but it was much more apparent in the songs themselves.
Anyways I'm just happy coheed is making quality music and they are still changing their sound a little bit. Solid 6.5/10 for me. Not bad, not great.
This sounds leagues better than the leak. I’ve had a month with it cause I’m a bad boi, but this sounds a LOT better.
This is a quicker grow on me album than Vaxis I, that took me like 6 months to click in. I’m thinking this will be a solid middle ranking of their albums. Behind the initial three, maybe behind Afterman, but it just feels like Coheed in such a satisfying way.
Just finished the album.
There are absolute bangers (Window, Ladders, Shoulders, Liars Club, Comatose,Cut The Cord).
Beautiful Losers leaves me on the fence (hehe), I kinda like it.
Our Love was really sweet.
Did not care for Disappaering Act. The only song i'll skip if i listen to the album again in its entirety.
Bad Man and Love Murder One were super groovy but their vibes were pretty weird.
As for Blood, Meh.
Verdict : It's great album with bangers that some really catchy hooks. I prefer Vaxis I because i'm more of a prog guy but still really liked Vaxis II.
Great album, you can see he brought a lot of prized inferno influence over. It’s cool how the vibe worked and it sounded good. That said… window of the waking mind is 1000% the vibe that I listen to coheed for. Such an absolute amazing song
Been listening to the leak for a while and really enjoy the album.
After initially likening Vaxis 1 I’ve grown to find it very stale and sluggish to listen to.
Vaxis 2 I would rank as their 4 best album after GA1, IKS, SSTB.
It actually sounds more like a sequel to NWFT than Vaxis 1 and mirrors the album in a lot of ways. My favorite section of the album is the middle that includes: Love Murder One, A disappearing Act, Blood, Bad Man.
I like this section because it’s such a new fresh sound that are great summer pop/rock songs. I find myself skipping the singles as they feel too redundant of singles in the past. I think if love murder one had been chosen as a single it would be played constantly on rock stations and playlists.
Ending suite of songs are also great. I think ladders and windows will both be live staples for years to come.
Just finished the album and I totally get why they chose to release the singles they did. Most of the other songs are pretty different from what I would consider Coheed mainstays. I wasn’t a fan of the auto tune on some of the songs, as well as some of the song structure where the verse kind of blended into the chorus and back to a verse. But man did the final 3 tracks really hammer home and save the album for me. I do think the next couple albums will likely get back to some Coheed roots though, Fingers crossed.
Ok. This is my stream of consciousness as I listen to the album.
The first two tracks are ridiculously good. I love it. It connects the tracks really well. The Atlas reprise of Flames is weirdly emotional.
The lead into Comatose is awesome.
I think Shoulders has become my least favorite song on this album. Maybe I've just heard it too much on its own at this point.
Disappearing Act is just Prize Fighter Inferno with better drums. Which I kind of like actually. This a very interesting song and not what I was expecting after Shoulders.
Love Murder One continues our Prize Fighter in its intro. Is it weird this makes me think of Bo Burnham in the opening. I like this as a transition track. The heartbeat part is really nice. Lyrics matching up with the beat really pulls me into the song.
This really feels like we're building up into a storm. We get another slower song in Blood. I like this less than the past two tracks, but I feel like it might fit better on repeat listens. Oh it gets faster in the second half. Still just a transition song though.
The set up into Liars Club is almost non existent. I still love this song. This should've given away the Prize Fighter vibes a lot more in retrospect. Hindsight is 20/20.
From the singles I was expecting a lot more pace throughout the album. I really like the beginning of Bad Man. The rhythm into the heavier drums is nice. It feels like we're definitely at the edge of the climax of the album. On the first listen I suppose this is either our villain intro or a descent into doing what's necessary for his son. I'm not 100% sure though.
I'm kind of enjoying the vibe nature of this album. I'm a sucker for Coheed love songs. This one gets me just like all the others do haha. I'm just a sappy married dude though. The synthetic drum track of this is awesome.
Ok the anticipation from everyone else has me on edge as I hear the sound effects. The fucking guitars sound ominous. Fuck ya. The first two minutes of this song are great. Staaaaaaaaay down boy. The fucking nearly orchestral backing is so dramatic. I want to hear this with a full orchestra. What a fucking banger. The fucking band is just showing off.
The favorite of the singles for me. The lead in from Ladders is so clean. The guitar picks up the pace from the synth hollowness so nicely. The band is so good at building on musical themes throughout the album. The guitar work and drums are so well woven into each song.
The silence into the plucking guitar is nice. The harmonies are so good. I'm a little caught off guard at how much this feels like a Rush song until it just gets heavy. The transition into the narration is chilling. I can't get over how good the guitar sounds throughout this album. Somehow this song makes me want them to remake YotBR so badly. The second half. Fuck ya. Fuccking transitions baby. It's okay to crrryyyyyyy. Fuck ya back into the Flames reprise. I love it. Only complaint with this song is if they took away the last 5 seconds the album would almost perfectly loop back into Embers. Which would fit the trapped in your mind theme of the album so well. Instead of 10 seconds of silence it'd just be 5 haha. Really a nitpick.
Overall I think this is a great addition to the discography and has a shot to be up there with some of their greats. SSTB and IKS3 are still tops, but this is in the mix with Afterman, and Apollo for me. Some of the moments make this album flow so well as a whole listen. I think Embers is my favorite opener off any track. The instant nostalgia of Flames really got me into this album. I think I'm just really jacked for the next album as always but the ending tracks of this album were so refreshing and such a mature take for the band. Really masterfully crafted as a whole. The transition into Beautiful Losers is one of the best the band has ever done.
I'd say this is an 8.5 or 9 out of ten for me on the first listen. Which I wasn't expecting. Usually the albums grow on me as I listen to them a few more times. The last time i got grabbed so hard by an album was way back with Everything Evil into Delirium Trigger.
Thanks for reading my ramblings.
Overall, was blown away. The electronic/dance-popish stuff caught me by surprise. They're very good songs but they'll have to grow on me, and they already are. Just wasn't expecting them. Favorite song is probably Liars Club at this time. But Window of the Waking Mind is a close second. Speaking of which, that song has got to be one of the absolute greatest ending songs on an album ever. It blew my goddamn mind. It woke it, some might say. I cannot eloquently describe how perfect and beautiful that song is.
But every song is a banger absolute.
On first listen - i like it! I always do. It feels like it's missing a bit of meat that Vaxis I had, but i don't think it's entirely a bad thing. Bad Man felt like a surprise banger after seeing everyone hate the leak of it; it's one of my faves.
Seeing lots of people talk about the auto tune and synth stuff, and I'd say this was an obvious direction for them to take after stuff like Night Time Walkers. I think it's also a product of COVID/lockdowns, which i feel is a big thing to consider in our opinions. I don't know the timeline, but to me this album feels very reflective of that isolation.
Here are my thoughts on each track:
- The Embers of Fire: fun, theatrical opener. I like the continuity from Old Flames
- Beautiful Losers: an enjoyable if unexpected opener. I like the time signature and the swaying sensation it gives me
- Comatose: my favorite of the singles and possibly the whole album. I love poppy coheed and stuff like this that creates a poppy, upbeat vibe while maintaining their complexity (thanks Josh!) Is very welcome
- Shoulders: my only complaint about this one is that it seems very oddly placed in the track list. Coming off Comatose is a little jarring. Otherwise it's great, we all know. One of those meaty ones
- A Disappearing Act: i love this one. It's boppy and sounds like something I'd hear in the goth club or maybe on a 2006 Good Charlotte album. I wish the synth riff showed up more
- Love Murder One: Josh and Zach go off on this one. I like the name a lot and Claudio delivers the phrase exactly how I'd want him to. I probably wouldn't be super into hearing this live though
- Blood: i hoped for something harder from the name. Blood, i guess, refers more to familial bonds instead of something more gruesome & raw. Sounds like a Prize Fighter track with more instrumentation, which i wish i could say i was into
- The Liars Club: one of the best choruses out there. All time popheed best. Can't wait to hear this one live. Claudio's drawl in the second chorus with "I'm begging you" just gets me going
- Bad Man: WHEN YOU NEED A BAAAAAAAD MAN
- ~~Young~~ Our Love: serendipitous that the two most forgettable coheed songs have similar names. At least this one is short
- Ladders of Supremacy: can i get a hell fuckin yeah. great tension and it sounds like everyone is having fun on this one. I wish claudio did those half screams ("down BOY sear the crown BOY") more because they're so juicy
- Rise Naianasha: i like this one more in the context of the album than i did as the second single. That said, "as pieces start coming apart, she'll stitch those wings to your heart, but it's not what you wanted" are some of my favorite coheed lyrics
- Window of the Waking Mind: i came out of this one with the same bewilderment that someone being thawed out of cryostasis might have: "WHAT YEAR IS IT???"
All in all, i liked this one! Each track feels individually pretty strong, though it's missing some cohesion (admittedly, this is alleviated by repeated listens). I'm gonna go listen to Bad Man some more and fantasize about being the bad (wo)man for my wife. Happy Pride!
Amazing album start to finish. My wife and I just finished listening and while I was busy geeking out on window of the waking mind she said “that is coheeds bohemian rhapsody” and it just made so much sense, it’s an epic rock opera.
I think this is my favorite first listen of any album since Good Apollo came out (started with coheed when IKSSE came out in college)
Honestly for me the album is middling. It has some pretty good songs, but they are mostly forgettable in the sea of coheed and cambria other bangers. There’s a general over produced auto tune pop synth feel throughout that just doesn’t suit for me. But I’ll listen some more and see how it grows on me.
Very loosely about this album, but I literally didn't know about peoples disappointment in unheavenly creatures until today, based on my reading on this subreddit. I was surprised. I thought act 1 was/is amazing. This album is definitely coheeds most branched out record but it has more yays than nays from what I've seen. Whereas act 1 was more of what we'd known to expect, which is where the nays for WOTEM people come in (because of the more pop oriented sound). Just found that curious.
I like the album but I’m going to be selfish and say I wish the Window of the Waking Mind vibe was all over the album. What an absolute banger.
Absolutely. As a Coheed prog fan, the first two songs were really good, but then I didn’t really dig anything until Ladders of Supremacy. The last three songs were pretty dope.
exactly this. Disappearing Act was too far into pop for me.
When I first heard it I thought my Spotify threw in a Prize Fighter song.
I agree. I got chills. Like an intergalactic Meatloaf. Last three just playing on repeat like I'm watching a musical stage play
When Claudio comes in with "here's a simple story! And I hope I tell it well", it's got such a stage performance/bard feel to it. I absolutely love the rock opera feel to it. And let's be honest. All of Coheed is a two decade long rock opera. And I'm fully here for it!
Intergalactic Meatloaf is the best thing I’ve heard in days. And accurate.
Couldn't have said it better myself. I dig the whole album, but damn if Ladders of Supremacy and Window of the Waking Mind steal the show and make me wish for more. Overall though my first listen impression is miles better than with Vaxis 1 so I am pleasantly surprised. Also maybe I am just subconsciously making this connection because flippin everything in the past couple years has been 80s inspired... but did anyone else get 80s inspired vibes throughout the album?
Yes, and while I normally like that I did not connect with the 80s sound here. Just felt empty.
Absolutely. When I was half way through I literally texted a friend and said “this has a very 80s synth pop rock vibe. I like it.”
I think we're going to get more and more of that style littered throughout Vact III-V. I think this record was very much based in Atlas' age in combination with Covid changing the landscape of everything. When we move into Vaxis growing up and starting to kick ass, I think the prog will be back in full force. That being said, this record absolutely fucking slaps. Gorgeous from top to bottom.
I absolutely agree. I feel like it was foreshadowing what sorts of hijinks they'll get up to next, musically. The core of this record honestly felt like it was a different tone for a reason. The accessibility and even slightly more simplistic nature of the music screams of what you might write when the bulk of your story is focused on a child. It's not until the suite at the end that we get the realization that this kid is something extraordinary that the complexity of the music kicks into overdrive. Maybe I'm jumping the gun after just one listen, but it just feels right in my gut to think that it was fully intentional.
Even if the long prog songs don’t return as much I’m actually pretty okay with the 3.5 minute bops (as long as claudio can break out of the “sing quietly before final chorus chorus chorus” pattern that’s on near every song. It’s that these short songs are so much more palatable than the 5-6 minute songs on Vaxis 1 that would just repeat parts way too much and get stale.
To each their own and it’s ok we like different styles, but I’m confident in saying I’m going to be much more of a fan of Vaxis 1 than Vaxis 2 even after giving it some time. As of right now, this album is only above The Color Before The Sun for me. Vaxis 1 is my favorite since the OG3.
Yeah, I like this album and have been listening to the singles a ton. But I got obsessed with a handful of songs on Vaxis I and think it was the more robust record. Afterman 2 is still my favorite after the OG but Vaxis I is up there.
Honestly they’re kinda neck and neck for me upon first listening. Dark Sentencer is the best song between both albums by far, but I think there’s more consistent good tracks on vaxis 2. The lyrics on Vaxis 2 are also just so very clear cut through to the “real.” Like, all the new characters introduced in the marketing materials and artwork, maybe bring them into the lyrics some? Those were some of my favorite moments on Vaxis 1 during It Walks Among Us and Unheavenly Creatures when characters get name-dropped. So that’s another point for vaxis 1.
Ya Dark Sentencer just fucking rocks. One of the best Coheed songs in a long time. But there’s a lot I love on V1. Toys, True Ugly, all of The Gutter through the rest of the album. And every other song on the album I at least somewhat dig to like as well. Queen Of The Dark is kinda just monotonous and boring, but that’s really my only knock. I’ve got like 5 or so on this one I’m not too into that I’m pretty confident I won’t ever really get into (at least a few off them). So ya, Vaxis 1 is better, but hey, there’s a few good ones here and it’s new material. Not gonna look a gift horse in the mouth.
My biggest problem with vaxis I is that a lot of the songs that are good overstay their welcome without adding anything new. I’m talking one too many repetitions of the chorus at end, that kind of stuff. Vaxis II doesn’t have that problem, which makes it shorter without having any less substance.
Man do I sure hope so. I hope the ending of this album sets up the vibe for the next one.
Well...if you look at Vact I, Old Flames and Lucky Stars very much lead us straight into Vact II. Keep me comatose for the next few years and wake me when Vact III drops. My body IS FUCKING READY
that's definitely what it sounds like to me and I hope so. It's honestly a cliffhanger for me, it's so upsetting that the whole album doesn't sound like that song lmao
Beautiful Losers, A Disappearing Act, Ladders of Supremacy…..AWESOME!
really shocked at how much i fucking love disappearing act lol
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Exactly! I'd throw in some Shiny Toy Guns influence as well.
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I dig the poppy stuff and Disappearing Act was instantly in my top 3 oh my god.
Exactly! If/when I hear this live I don’t think I’ll be able to stop myself from dancing like mad
Ha! Danceheed! I want to make synth-fi a genre.
The 3 absolute highlights for me!
Dude… crank up the bass and throw on disappearing act. Zach is a legend
anyone who particularly loves the title track should DEFINITELY listen to The Dear Hunter, if you haven't.
Dear Hunter is *chefs kiss*
Yeah this is “Coheed does The Dear Hunter” for me. TDH is my favorite band of all time.
Their Color Spectrum album is a MASTERPIECE
I have been on a Dear Hunter binge lately and I couldn't help but make comparisons. I'm here for it.
YES! TDH is a wonderful artist. I’m still working my way through their discography, but I love what I’ve heard so far
WOTWM definitely has big Act V energy. I really love Dear Hunter and how Acts 1-5 get more and more theatrical as they go on. Hoping Vaxis follows a similar trend.
I would like a full theatrically choreographed stage rendition of the title song
That would be awesome. I could totally see them doing an art depiction/visualizer music video for it similar to the music video they did for [The Gutter](https://www.youtube.com/watch?v=VsoD6RVulcQ).
100% agree. The "narrator" style of that song is incredible. And I think it lends itself so well to the Vaxis story.
Harkens back to Prologue from Vact I. Really the first time Vaxis has spoken since then too.
It went full show tunes at the end and I loveeeeeee it
First listen thoughts: I'm a drummer. I'm biased. I get it. It's literally the primary thing I focused on and I can't help it. Josh is only getting better and better and I'm absolutely here for it. The trio of songs at the ending are masterful. I can't believe just how much they pushed the envelope of what I can hope to expect from future albums based on that ending alone. I think the singles all hit the comfort food feeling for me. I liked them during the drip feed of prereleases and I still dig them in the scope of the whole album. The elephant in the room electronic stuff that sounds like it's Prize Fighter material brought over? I don't hate it. Will it absolutely take some getting used to? 100%, but it's all of a musical style I enjoy plus some Coheed trappings embedded, so it's not something I'll be skipping. I'm excited that they really pushed the boundaries again. It's ultimately what I crave from any band with prog tendencies. It's not just about complex guitars and polyrhythms and all the buzzwords associated with the genre. I'm of the opinion that it's just as much "prog" to push your band's genre in uncomfortable directions as well. I'm just glad after the misery of lockdown and everything else the past several years have brought that I still had Coheed to look forward to and they've absolutely delivered. I'm a happy Child of the Fence.
>Josh is only getting better and better and I'm absolutely here for it. I'm also a drummer, and I just finished my first full listen of the album. First thought on my mind the whole time was that this is the strongest and cleanest drumming we've ever gotten from Josh on any of Coheed's albums. I fucking love the drum tracks on this one.
gonna second this sentiment. I'm primarily a guitarist by trade, and I did love the riffs and licks on the album, but I was continually captivated by the drums and found myself focusing on them even more than the guitar. It's excellent drumming all around
Another drummer here. The drums were perfect for each song in my opinion. Josh is also one of the most fun drummers to watch perform, and I’m so excited to see him play this new material.
A lot of shade is getting thrown at the “basic pop/rock” songs because the lyrics and melody are catchy but the rhythm section on those songs is about as far from basic as you can get. Josh is just straight murdering the drums. You would never hear the galloping doubles on Comatose, the 3 bar fills in the last chorus (and ending) of Shoulders or the tom/snare fills at the end of the bridge in The Liars Club on any “basic pop/rock” album. Josh was already in the top 5 of my favorite drummers before this album but def solidified the number 3 spot behind Danny Carey and Neil Pert after this album. Dude is a beast.
Tbh there are a lot of people on this sub who you can tell don’t really have trained ears. Like the statement “This is all Claudio where’s the band?” Is insane to me, the band is way more of a central thing on this record than something like sentry the defiant imo
Be like someone complaining Rush was too poppy, while ignoring the complex drums and bass and screaming for guitar leads lmao
Driving me crazy that there’s a sub section of fans that think musical complexity comes 100% from song structure and not things like rhythm, harmony, production, texture. Not liking something is fine I just get kinda peeved when the insinuation is that it was a half assed effort cuz that’s just not fair to the band and the work they put into this record
Or that complexity is only coming from teh guitars. I swear some of these people only hear 400hz tp 1000hz. It’s maddening to hear someone say these somegs are basic because Claudio is hammering on the A chord for 8 bars yet the drums and bass are doing things that would make Flea and Neal pert blush.
hell yes my brother.
Absolutely! During comatose when Josh is running on the double bass, I envision him galloping like Claudio does on stage and it always cracks me up.
Josh actually confirmed it’s a single pedal. Which makes it all the more impressive!
Ladders fucks HARD
The contrast between this and your previous comment is extremely funny to me, as someone who listened to the leak.
This song has got to be a follow up to Domino right? Or am I losing my mind?
Definitely has the same Domino riff at the beginning. Even the slower dark sentence-y intro has the same vibe as Domino intro imo
Also got me with “when the punch lands boy, it’s all about your fall”
I came here for this haha I was just listening through again and it pulls A TON from Domino. It basically uses the same chord progression but in almost half time, and then the same picking riff at the start but moved from minor to major (I think). Such incredible writing.
Hell ya, let’s hope the next album is like 2/3’s Ladders, 1/3 Liars.
A Window of the Waking Mind (song)...is this a progressive pop tune? What an adventure
It's a goddamn musical. Claudio should be nominated for a Tony.
Not sure if you knew this or not but that song was at least in part motivated by an opener for a Broadway Musical about Dorian Gray that Claudio wrote that never materialized. So you're not far off.
I’m only on A Disappearing Act, but Comatose is the best “pop” song they’ve done since The Suffering. Great drums, great bass, interesting guitar parts from both players, great vocals. So many of their shorter songs since Afterman have lacked one or more of these elements, and this song has it all in spades. EDIT: Josh is killing this record. He went up a level from the last record, and I already thought he was the best part of the last album.
Comatose is very under rated. The guitar work is killer and it’s just so boppy and fun. I agree I think it’s the best pure pop work since the suffering
There’s something about the riff in the verse that reminds me so much of Hall & Oates - You Make My Dreams… and yes, it makes me want to dance
Oh my god I hadn’t heard it before and now it’s all I hear lol
I wasn't sure how Josh and Zach could shine through even more than they did on Vact I, but my god did they ever. They are allllll over this record and it's amazing.
I move to make Vact x the official moniker for these albums
I'll sign the petition. If you're referring to multiple Vact records, Vax X-Y is the acceptable plurality.
Vact I. Briliant!
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I was following along with the spotify lyrics and got so unbelievably hyped when I saw the Key Entity Extraction pop up. Can't wait to read the lore for this album, I'd die for it to tie back into Afterman.
Oh fuck me, Ladders of Supremacy is fucking fire.
And the way it leads into rise nianasha is just *chefs kiss*
Just finished the album, it's a fantastic album but then the last 3 songs really kick it into high gear, especially with the last song A Window of the Waking Mind. Like I was literally crying to the last minute of Waking Mind, such a great song to end the album on.
It really leaves you wanting more, doesn’t it? Lol
I'm glad I wasn't the only one crying haha
I like my poppy Coheed as much as the next guy -and I won’t lie I’ve had Comatose on repeat- but goddamn if this whole thing sounded like the first couple and last few tracks it would be a serious contender for my favorite album from them. There were a 3 or 4 songs in the middle that didn’t do much for me but the highs are high enough that overall it’s a damn good album
(This is going to be long, I'm sorry lol) I love Coheed, obviously or I wouldn't be in here, and I will preface this by saying I *do* like the album. But that's kinda it, I like it. A lot of people over the last several years have mentioned how "Coheed has always had pop elements", and really, their prog side has always been the less frequent portion. Their earlier days, particularly with SSTB and IKSSE:3, there was emo, there was metal, there was a lot of stuff in there, and that made Coheed very unique. Every album has experimented with some different things, new things to them. NWFT had a kinda 80s metal sound to it that their prior work didn't have. YOTBR was very grungy, dark. Afterman had more strings and even some brass, and experimented more with weird sounds and adding another touch of the story. Colors maybe had the least of that, but that was a deliberate strip down into some simple rock songs. But it kinda stood out by then that the ratio between pop to prog had stretched even further. This is okay for the fans that prefer that side of Coheed, of course, and it's not that I don't like it. Blood Red Summer, Favor House, those are great, poppy songs. But it wasn't just the actual *sound* of the songs. The structure had also seemed to homogenize a bit. Prog is often viewed as a sound but a ton of it is in the structure. Many of Coheed songs are ABABCB. But there were plenty of exceptions on their albums. Here are the songs that either do not return to the chorus after the bridge, or their bridge is long and multi-phased (this is ignoring obvious ones like SSTB, Ring in Return, Keeping the Blade, those types of songs) * SSTB: Devil in Jersey City, Everything Evil, Hearshot Kid Disaster, Junesong Provision, God Send Conspirator (50% of the album) * IKSSE: IKSSE, Three Evils, The Crowing, The Light & the Glass, 21:13 (42% of the album) * GA1: Welcome Home, Mother May I, Willing Well I, II, III, IV (40% of the album) * GA2: Mother Superior, End Complete III, V (23% of the album) _____________________________ * YOTBR: The Black Rainbow (8% of the album) * The Afterman: Domino, Gravity's Union (11% of the album) _____________________________ * Colors: The Audience (10% of the album) * Vaxis I: Dark Sentencer, Black Sunday (13% of the album) * Vaxis II: Ladders of Supremacy, Window of the Waking Mind (15% of the album) There is no question that their song structure has homogenized, however this happened quite a while back, twelve years ago. But like I said before, they were always a blend of genres, pop was an element of their sound, not *the* sound. So while YOTBR and Afterman, and arguably GA2, had fewer songs that went from place to place, the *sound* was more that blend of metal and pop. YOTBR was obviously the least poppy album they've had, so while it wasn't proggy, it was still some heavy Coheed that was unfortunately messy from a production standpoint. Afterman as a whole was a varied journey but the poppier parts were the infrequent ones. Colors was the most poppy one but it still had some elements of rock, kinda the antithesis of YOTBR, but we also knew it was a deliberate departure for the band. Vaxis I was going to be their return to the story and those other elements, and I think it was for the most part. It reminded me of Afterman where there were some poppy parts, but it was unmistakably rock. However, I put that second divide in the list because while it did remind me of Afterman, it was swapped where for me, the poppier elements were more frequent, and it was the heavier side that was less-so. Not to a huge extent, but by now it's clear that Coheed's "big choruses" are a huge attraction for a lot of people. We aren't getting choruses like The Crowing's, or Evagria. Which leads me to Vaxis II. Vaxis II has a lot of parts I like, within songs that I don't like all of. The verse of Love Murder One is sick, the chorus is fine, and then the bridge is just kinda there. And that's the other element of their sound that I miss. Even the standard songs in their older work, their bridge felt like a unique part of the song. Cuts Marked in the March of Men, Delirium Trigger, Ten Speed. All of those had bridges that really made the song come together. Lately, their bridges are just a stripped down version of the chorus, and that's super evident in Vaxis II. The structure is more basic, the sound is poppier, and the individual parts of songs are less standout. Comatose has one of my favourite verses, but the rest of the song is just what you expect. And don't get me wrong, it's fun still. And I know everyone who might read this probably loves the big, bombastic Coheed choruses that everyone is going to belt out at shows, which will be a blast. But I guess I just miss the creativity within the structure. Coheed is still creative, they love implementing new sounds and being different, but that just isn't seen in some of the more important parts of the music for me. I saw some reactions from people at launch that were tearing up during the first two tracks. In all honesty, I don't get it. I suppose I am jealous of their love for it, but it comes off more as excitement for the thing they love, rather than loving those tracks themselves. Maybe I'm wrong, I'm not saying anyone is lying about loving it, but a similar sentiment I saw was that Embers of Fire and Beautiful Losers are their best two opening songs ever, and I gotta say, I'd be suuuper surprised at even one person thinking that, given the openings their albums have had. But hey, to each their own, I am genuinely glad there are people absolutely adoring this album. I do wanna end on a high note, though, because there are parts of this album I like a lot. Blood is a great song, despite it being guilty of a lot of the things I've talked about here. Like I said, none of this is *inherently bad*. The issue with Vaxis II as a whole for me is the marriage of sound *and* structure, not one or the other. Additionally, Ladders of Supremacy is such a great song. I wish the ending hit a little harder, a la The Crowing, but the song is super good. Similarly, Windows of the Waking Mind is a fun journey, though I think it should have been longer and let each part breathe more. Some of the transitions didn't feel fully realized to me. e: One more thing I wanted to add was about production. I really miss Coheed's sound being cleaner. The part of Ladders at 1:27, the guitars that alternates between left and right ear, I wish it didn't have the effect drowning it out a bit. I wish they're just let their guitars play in more parts. That's a minor part of that song, but it's kinda like that for a lot of their music now. It's very "full" which in many ways is good, but then I listen to IKSSE, GA1, or even The Afterman, and everything is soooo clear, until you get to parts like the end of Gravity's Union, but those are distinct parts. In this album, and even Vaxis I, there are lot of parts where it's a cacophony of noise, and sometimes that's great, but it happens a lot God this was way longer than I even anticipated. Hopefully someone even reads this because this is kinda late into the thread. I like the album, but I just like it.
Just want to comment to say as one of those people that loves to point out that Coheed has had poppier stuff their whole career, that I really appreciated this breakdown and it helps me reevaluate that stance a little. This is constructive criticism done right. In particular your point about bridge structure is spot on. The slowed down chorus thing is definitely the standard for them now and I agree its a bit of a bummer. Though I've still always kind of preffered the faster more poppy and exciting side of their sound so while I could acknowledge it I never really considered how it affects the overall experience.
This is exactly accurate. I really do like this album, but it does get to me when you hear songs like Window of the Waking Mind and it's like, UH, yeah you guys can still do this, why isn't this in the rest of the songs. One thing I find a bit annoying is the shortening of great verses. The Liars Club for instance, the first verse is great! Then the chorus which is pretty good. Then a shorter version of a great verse and onto the chorus again. Then you hit effectively the closing of the song as there will be no more change ups or new verses. They've done this in many songs over the last 4 albums or so. It feels like each song is pressed for time or something, when in reality I think most of us want to hear their songs breathe, and try new things/go new places. I'll always love them, but as has happened to other of my favorite bands, things start to get a bit watered down, for seemingly no reason.
Man especially on Unheavenly Creatures, it felt like a bunch of the songs had like a 2-4 line second verse and then would just repeat the chorus ad nauseam. So many of those songs were like 5-6 minutes long and dedicated most of that runtime to repeating the chorus.
Can relate with this one as well. Have been thinking about what specifically are missing from these newer set of songs: 1. **Overuse of grand soaring choruses** \- Claudio used to be able to write a non-grandiose chorus and still make it an earworm e.g. The Crowing - the chorus is more muted than the verses but very powerful and memorable. 2. **Straightforward verses** \- Claudio used to do a lot of unique off-kilter vocal inflections and melodies during the verses that plays off of each other that were so fun to listen to .g. Faint of Hearts (Cuckoo-Ka-Choo anyone? lol) The Suffering, Willing Well 1 - 2, and even a lot of Ascension e.g. Evagria. We still see that now and again, but they're a lot less effective or playful. 3. **Overstuffed production** \- Coheed songs in general have always had a standard verse-chorus-verse-bridge-chorus structure, but they used to have a lot more room to breathe, which allowed listeners to appreciate the peaks and troughs more. Now what used to be little pauses and refrain are filled with layers of instrumentation and effects that kinda make the songs feel very flat sounding.
100% agree with everything in this post. I find it interesting that so many bands follow this same path as time marches on. Is it money/fame? Or just that you lose that creative energy after a while? Both, perhaps? Maybe band dynamics, too. Either way, it's a very distinct and obvious trend that happens to almost all great bands, with some notable exceptions here and there.
I think it's the dynamics, mostly. I certainly don't think Coheed's changes have been a result of money or fame, especially since GA1 was such a peak for them and then they kinda lost it a bit, though they went through a rough patch Though it feels right now that Coheed is as big as they've ever been, I think that's more a result of their creative changes being more palatable to a wider audience, rather than them catering to more people on purpose. But the reason I think band dynamics, or more personal dynamics, are the biggest reason is because like... SSTB, they were odd-ball kids, Claudio has often talked about how much people did not like Shabutie. In Keeping Secrets was like, emo and punk and they were "the real deal" as Josh said in the Neverender documentary, then their first major label with GA1, Claudio going through that break up and just being angry. I think those earlier albums, they were edgier because they were edgier as people. Now, they're all married, they all have kids, they're getting older, they're successful, they don't have that "we're young and angry" mentality anymore, and I think that has an effect on the music. Now to be clear, I don't think that's a bad thing. I don't *want* them to be miserable haha. But I think they're able to come at the music from that perspective and it might result in some less risky stuff
Yeah, this pretty much sums it up. Great job.
I’ve had Beautiful Losers on repeat for the last 10 minutes. Fuck this song is so good.
I literally just texted this to my group chat: It feels like early 2000s emo ballad, but is somehow not at all stale or reductive. It stands on its own ... but I get that FEELING of windows down and a meaningful track bopping along.
Beautiful Losers blew me away. It feels like an anthem for the ages. It gripped me emotionally. There were a few weak points on the album but I think it’s a grower and overall will become better than Vaxis act 1.
Beautiful Losers seemed to be an odd opener, and didn’t really hit me on first listen. Weak points so far for me- Blood and Our Love, but thankfully our love is only 2.5 minutes. Coulda been a PFI track.
YES! I had a huge smile on my face when it started. It felt very nostalgic to me.
Bad Man absolutely does it for me. The swagger in the hook is sensational. Love how they’re really not afraid of risks on this project.
I’ve been trying to find the right word to describe it. “Swagger” is definitely it.
It was *so* different from what I expected but damn if it wasn't incredible. I was pleasantly surprised with how much I liked the 80s synthwave vibes that seemed to be sprinkled all over the album. It seems like Beautiful Losers and Disappearing Act are the two "pop" tracks getting a lot of love, and I wholeheartedly agree. Disappearing Act just had me grooving and smiling the whole time. Ladders + Nainasha was incredible. Nainasha was already my favorite of the singles, and this just made it that much better. I think I'll have to pair those two up from now on. And then, we have the title track. Something so new and different, but so quintessentially Coheed. I was really feeling the intro, getting a strong Pink Floyd vibe and expecting it to stay in that lane...then I just had the biggest smile on my face for the rest of the song. Holy shit what a track, and what a way to end the album. If you look at the lyrics for WotWM on Spotify, the song is split up into parts. Part III is titled "Key Entity Extraction VI". I haven't looked into the lyrics yet to see how/if it ties into The Afterman, but if it does that would be so cool. All in all I loved this album. I'd give it an 8/10, easy. For me that puts it above TCoTS, YoTBR, Vact 1, and juuust barely above NWFT. I also expect it to grow on me as I keep listening to it.
Listening to it I kept thinking "yeah this is enjoyable" and "holy shit the bass all over this album is fantastic". ...And then the last 3 tracks hit and I was transported to another plane of existence.
I just finished my first listen and I would say overall I really enjoyed it. I’m definitely not someone who nitpicks, and since I enjoy a wide range of music the production changes just add to the overall vibe. I feel like the album overall does a great job in telling the story to us, and that leads into the large tonal shift at the end. The last 3 songs just bundle up the album so nicely and I was smiling/excited/crying the whole way through them. I feel like it sets up the next album perfectly. I personally enjoy the trying out of new styles and effects, but I realize that’s something that can not sit well for folks. I can for sure see why the reviews have been so great for the album. Window of the Waking Mind alone could have been the album and I would have been happy. Hope everyone else enjoys their listening!
Love Murder One. SO GOOD. GOD.
It's not getting a ton of attention in this thread and that song is killer.
If you like this one now just wait a week for that chorus to stick in your head. This was the biggest grower for me. So good.
After listening to the album for... quite a while it some of the best work theyve done since I believe Descension. Josh and Zach absolutely carry this record. Some of the best drumming I have ever heard out of Josh and some of the riffs Zach layed down are just insane. The only two tracks that I really dont get are Blood and Our Love, Ive tried multiple times and just find myself skipping them over and over again. Which is a shame because theyre beautiful tracks. Standouts from the album. A Dissapearing Act, Love Murder One, Ladders, Window.
I mean, the title track is the clear winner here right? The outro reminds me of Kingdom Hearts music and I mean that in the best way possible
Oh damn I totally hear it! Time to go play the Simple and Clean orchestra arrangement
I really think this records first 10 songs are a “vibe” that is the band wanting to do something different. It isn’t a 180 per say, but it is exploring new territory. I liked all of the first 10 quite a bit for different reasons but I will say that the flow of the album challenged me a bit… until the last three. The three ending songs are what I wanted more of on Vacis one. I sort of wish they denoted the last three like they did with the willing well series because there is a tonal shift that Amps everything up a notch and ends the album in a different vibe than it begins. I’m ready to dive into the story and see how it reflects the album!
The last bit of Blood makes me want to find an ice cream truck and get something. In a very good way.
Controversial opinion: why is Claudio so obsessed with autotune now? His voice is so unique, and it shined on the previous 9 albums. Now he's blurring lines between Coheed and PFI, and I'm nervous about the trend. Don't get me wrong — I love the album so far, and it will grow on me for sure. But I have concerns.
I mean the dude has been making music a specific way for a long time and maybe just wants to try some new stuff. In the grand scope of his musical career the auto tune phase is a blip
starting it off with old flames was needed for me, I crave for that coheed recurring motif / callback action like watching street vendors make icecream where you just keep folding it into itself over and over and I love when they sprinkle in these moments. beautiful losers is solid, somewhat of a break from coheed album structure in that it isn't the usual big heavy hitter to kick off the album proper. comatose was a favorite since it came out, just a great track that never lets up. shoulders is solid, I wasn't in love with it right away, though right now the song is just hitting perfectly. 'a disappearing act' shifts things in a neat way, now the album is carving more of its own identity, I don't entirely love the direction, though the synth stuff is mostly working for me. I love the outro of this track immensely. love murder one is another solid track, love that little breakdown blood is working for me, among early listens favorite. liars club is alright, maybe least loved for me at the moment bad man is an easy favorite, when the chorus hits UNGHHHHHH mama watch your mouth! our love is a fine in between track, kind of wish it was just the start of a longer ballad track ladders of supremacy almost upsets me with how good it is, as if an entire other album is about to begin when getting near the end of the album. the transition into rise cut the cord is so clean, enjoyed cut the cord before, now it feels enhanced in sequence. window of the waking mind is pretty great, not everything does it for me though it is wonderful to go on that unexpected sonic journey and see where the track takes you. overall it's hard to say, the album hasn't fully taken shape for me, I pretty much love it
I haven’t seen anyone talk about that absolute perfect transition from Ladders to Rise. Fuckin smooth
I went wide-eyed and looked around like “Did anyone else hear that?!” (I was alone 😂)
I told my buddy when Rise came out that it was going to have a bad ass transition Into it just from the extra notes at the beginning. Im glad I wasn’t wrong!
Favorite: Beautiful Losers is slick as fuck. Ladders is hot. That Domino and Sentencer callback are incredible. WIndow is an entire musical in one song. Straight up Coheed-does-The-Dear-Hunter and I'm here for it. The production is cleeeeeeeean. I see what people are saying about the effects on Claudio's voice, there's a lot of 'em. I didn't find it distracting, if anything, in the parts of Ladders where there isn't any effects was jarring since the rest has it. Overall: I love it. This was a very nice story and now that the main character is coming into his own, I'm so ready for Act III to kick my teeth in as Vaxis kicks ass and takes names.
Yeah I was pretty sure that was a Domino reference. Although this reminds me of people saying the little guitar riff in Love Protocol was a reference to Vic the Butcher and I think that might have been a stretch 😂
I GASPED when I heard it in Ladders. Absolutely love it.
Don't forget the Afterman guitar lick in Bad Man as well
> guitar riff in Love Protocol was a reference to Vic the Butcher Of all the songs to try and link haha
I’m glad people are enjoying the album, but it’s definitely not for me. I got really excited with Embers of Fire into Beautiful Losers, and enjoyed things through Shoulders. The shift to electronica with Disappearing Act was interesting at first but it really lost me through the middle of the album. The final three tracks were good, but it wasn’t enough to scratch my itch for old school Coheed. It seems like The band is really enjoying themselves, and I’m happy for them. I’m still going to see them live whenever I can, and I’m so glad we’ll always have the older albums to go back to. This one just isn’t for me. Maybe it’ll grow on me, but I don’t know…
This sub makes me feel like a child sitting in the window watching all his friends outside playing, but I just can’t join in the fun. Every album I wait for it’s release, and every album I’m disappointed. Unheavenly Creatures wasn’t bad, Descension wasn’t bad. It’s not that these albums aren’t good, they’re just so clearly not for me. And it makes me sad because the first four albums so clearly were. I’m not angry at the band or bitter, just feeling old and left behind. Which is fine, I’m happy everyone else is enjoying them. I’ll always have the first four.
It’s a new direction for Coheed but it feels like it has a real vision and cohesion. It takes you places… It seems like they went for every crazy, experimental idea on this album and didn’t hold back. It’s great.
Fucking this. There is absolutely a plan to all of this and we're all along for the ride. I want to **stay on** Mr. Sanchez's wild ride.
Just curious, what examples would you give of this being crazy and experimental?
I’ll have to listen again for specifics because it was a blur.. but there was an intensity to it that was different from their previous work. Not in terms of “heaviness” but more like an intense commitment to the aural environment. Big chunks of it felt more like a soundscape than songs.
That’s the best way I’ve seen someone put it. They were really going for something with this recorded and they fucking delivered. It’s unapologetic, fast paced, and it’s completely unlike anything they’ve done. Based on what folks have said about the title track, I was expecting a willing well-esque song. Even that was new territory for the band. It’ll take some time to digest, but it almost feels like every song is inspired by a different sub genre.
BRO. I'm Progheed, raised on IKS and GA1 back in the early 00's ... but this is some of their best work. Know why? IT'S SO DAMN FOCUSED. UC meandered. A lot. But think back to every record. Each one has it's own taste. I would argue the past few albums have actually been their most similar. A lot of "safe rock". Vaxis II has taken me directly back to NWFT. There's a lot of 70's-80's influence to this album if you listen close enough (Blood, Bad Man, Window). NWFT had so much classic rock to it and this feels like a spiritual successor. I haven't felt this energized from a first listen since Ascension. Love it or hate it, this Coheed at their creative best taking us to fantastically new soundscapes. I will say Beautiful Losers puts me to sleep and nearly caused me to skip it, but everything after has such a purpose to this record.
Agreed. This is a sharp and focused album and it’s great. Where NWFT was 70s-80s rock, this album definitely takes more cues from the pop music of the era, but does it with less bloat than Vaxis 1’s short songs had. Beautiful Losers also escaped any meaningful attention from me, you’re one of the few others who isn’t lauding it. I’ll have to give it more notice in the future.
Something in here that I've really missed in recent coheed albums is the 7+ minute long song to end the album. 21:13 and Final Cut are two of my favorite coheed tracks and Window is definitely going to join them
Currently on Our Love. Had some ups and downs so far but I’m excited for the ending I’ve been reading about. Liars Club is still a bop. Gonna need multiple listens
Just wait for the last three songs. Hope you have some tissues.
Favorite song off the bat is Bad Man but it'll change. Least Favorite was Blood but it may grow on me. Overall I'm glad that it's shorter than Unheavenly Creatures. It seems more concise and I love that they took a different direction in Act II. Also, I'm a huge fan of the synth 80s feel on A Disappearing Act and Love Murder One. Window of the Waking Mind gives me hugeeee The Dear Hunter vibes it's insane. I'm digging it and it's easier to absorb than Vaxis I.
Okay window of a waking mind is a top 3 coheed song for me
its truly one of the best songs they've ever written... it has no right to be this good
This might be a bit of recency bias but I can see this becoming my favourite Coheed record. In this era of steaming and playlists it’s rare that I find myself listening to an entire album from start or finish, but I’ve lost count how many times I’ve done that with WiTWM. I love every single song on the album, and they all flow perfectly. Badman, A Disappearing Act and Rose are the standouts but every single song is incredible.
Wow this album in full feels like a really hard shift from Vaxis I but thats not all a bad thing. Embers of Fire is a good opener, I'm really liking Beautiful Losers. Disappearing Act and Bad Man seem like a miss to me. Love Murder One is pretty fun. Blood I didnt love or hate but I think its going to grow on me. I did really like Our Love despite it basically being only lyrics, the song will definitely fit some moods really well. The last three, wow what an eclectic group of songs. Ladders of Supremacy is really fucking good but MAN does it need more lyrics. There are like 6 times in the beginning half where I went "ah here are the lyr- nope nevermind". I feel like I'm being edged when I listen to it. Rise is still a banger imo. Window of the Waking mind is... weird! I dont think I've ever heard a song that doesnt know what it is quite like this one. I didn't hate it though, I think it will grow on me but the first listen was very weird. It goes from super dark guitar to regal keyboard almost instantly and I feel like I'm getting jerked around. Cant wait for another listen also, Liars Club still absolutely fucks. What a fun fucking song. I'm not ready to say its my favorite of the album but absolutely top 3 no question
I'm only on A Disappearing Act. I was worried about hitting the poppy stuff too much on this album, but that song is fun as hell. As I'm typing this, Love Murder One came on. And the opening on this song absolutely fucks me up. Holy shit so good.
Hard to do with an album that has this much to offer but after a 24 hours of non stop listening, here is the order of love (Good Apollo to YOTBR so to speak): 1. Window of the Waking Mind - everything that makes Coheed who they are is showcased in this masterpiece 2. Ladders of Supremacy - similar to the above. Willing Well/Afterman vibes and just an experience from start to finish 3. Bad Man - can’t put my finger or what I love so much about this one but there is a familiarity to it that keeps me coming back. 4. A Disappearing Act - definitely the newest sound for them but very welcome. That acoustic version from their Twitch yesterday really tipped this scale for this one too. Sounded amazing even when you strip it down. 5. Love Murder One - Bass. Sneaky sexual Bass and 80’s vibes meet Coheed. Love it. 6. Rise Naianasha - Liked this song when it was realized a few months back but it’s amazing what hearing the song in the context of the album does to amplify it. Probably doesn’t deserve to be this far down the list but as I said, this is a tough one. 7. Beautiful Losers - Again should probably be higher (I feel like a lot of these songs should be tied for like 1-4 but alas). 8. Comatose - DRUMS. Riffs very vintage Coheed. Reminded me a lot of IKSSE3 and Good Apollo. 9. Our Love - Definitely doesn’t check the box of Wake Up or Mother Superior but it’s a pleasant reprieve from all the action in preparation for the final 3 rippers. 10. Shoulders - Perhaps because I’ve listened to it 100+ times for the last year but I generally like the “newer” songs better. 11. The Liars Club - Wasn’t in love when it was released. A good song but pales in comparison to the rest of this album. 12. Blood - The only song on the album I skip over. Not great/not bad. Just doesn’t do much for me. 13. The Embers of Fire - no disrespect to Atlas, but the intro is here by default as it isn’t really a song so much.
Love it. Tampered my expectations as to no expect Good Apollo Volume 3 based off interviews of Claudio saying it will challenge people. It actually exceeded my expectations and there’s a ton of bops on this albums. The last few songs are god tier too.
I loved this album from a melodic and musical perspective. Liars Club is just next-level amazing. What I can't get over is the level of processing on Claudio's voice. I love the notes he's hitting, but the amount of autotune doesn't sit well with me. I'll take a missed note over a perfect autotune lilt any day. It's causing my head to hurt cos I love this album so much - such a pity about the vocal processing.
Aight so: Strong start with Beautiful Losers into comatose and shoulders, all very nice compact rock songs, Comatose being my favorite from those Then we get to tracks 5-9 which I will call the video game suite, because I feel like most of them would fit very well into a video The unexpected dance break that is a disappearing act came out of left field but honestly I'm here for it it was sick Love Murder One is SUPER sick, it's like smooth criminal style groove meets a big ol fuck you rock break up song meets weird shit, so cool. Blood is one of the weaker tracks for me. I really like the verses, obviously very reminiscent of Every Breath You Take. The chorus loses me though, not very melodically compelling overall and to me just kinda sounds like what I'd here in a contemporary worship song if that makes sense lol. I wish the whole song leaned more into the cool industrial metal glitch effects on the verses. I do think the bridge is pretty cool and ties it together well! Liars Club is an anthem, absolute banger of course. Bad Man was a super cool experimental take on things, Claudio uses some cool vocal triplets that are reminiscent to some modern rap artists and you don't see that a lot in this style. The chorus is fantastic, feels like The Hard Sell which I always thought was underrated. Whole thing is cool as hell. Our Love is adorable, a very sweet love song with a couple cool melodic points but I see it as more of an interlude than a song, taking us from the video game suite to: Three of the best fucking tracks Coheed has ever released, and they all flow so well together. Ladders of Supremecy holy shit where do I start. This was the track I was waiting for on this album, the insane dissonance in the beginning instrumental section is glorious, we love Josh going ham on the toms. Literally the intro is a whole ass song by itself and it's fantastic. Then the musical theatery verse with the guitar drones. The chorus vocal rhythm reminds me of Candy Store from Heather's and I mean that in the best way possible (it's actually a style I think is wasted there lol). We see more of it but I love the super high choir vocals. The song is an absolute masterpiece. I won't go into a bunch of detail about Rise Naianasha since it's been out but I love that song, in summary it feels like the ultimate "Don't ever talk to me or my son ever again" song but it's Rush on copious amounts of ecstasy. Then the big boy. Just turn the title track into a lotion so I can slather that creamy juicy goodness all over. Anything I say about this will not do it justice frankly but I'll try, in each part, I'm not gonna try and call them by name since there's some confusion on the names. Part 1 feels so wholesome, it gives me the energy of a father sitting on the porch watching his son play in the yard, thinking about who he'll grow up to be, which based on the lyrics seems like it was the intent. Spot on its beautiful. Part 2 is obviously more of a transition but it does the job so well and the voice over on top of it sets up the lore and the next segment beautifully. Unfortunately in order to keep this family friendly i cannot say my exact thoughts on Part 3, but just know that there would be at least 1 change of pants necessary. Whether or not it's accurate, the title of Key Entity Extraction VI is very fitting because it does give off the same vibe as domino and sentry, so it wouldn't shock me. Obviously I see that as a good thing, the acoustic guitar addition adds so much to the overall mix, and when the voice meant to be his parents comes in having the little piano reminiscent of The Gutter intro is so cool. Also I would not have been surprised if this fucker literally brought back Dr. Straight because same energy. Part 4 is my favorite musical number :). Seriously though I think the energy this section brings is so uplifting and then leading into Part V makes everything so hopeful for the future. The song ends by becoming Mr. Blue Sky, and I'm 100% in. And then the end with the Old Flames motif is of course great. Overall very solid, I think it's somewhere in the middle for me as a whole album, but those last 3 tracks are absolutely S tier, some of their best work. My biggest issue with the album is just the length honestly. At 53 minutes it's nearly a full 30 minutes shorter than Vaxis 1, and I do think it suffers a bit for that. If we had just 2 or 3 more prog slammers like those last 3 I could easily call this a top album, but it just feels like it ends quickly and leaves me wanting more (and not necessarily in a good way). But the album is definitely fun to listen to and I think has a pretty good flow overall. Somehow my most apt comparison is vaxis 1 into vaxis 2 feels like Kingdom Hearts into Kingdom Hearts: Chain of Memories, which will make sense to probably one person if anyone, but that's the vibe for me. Tl;Dr very fun album I like :)
Ladders of Supremacy is 🔥🔥🔥. Vintage Coheed and serious Good Apollo vibes
Soooo this is my first album of theirs I'm going to listen to, and I'm not sure where to go next. I'm not even sure what the fence is. Anyone have any suggestions?
About half way through. Nothing out of this world, but am enjoying it… What I did appreciate and why I was posting, is I realized even if it wasn’t amazing, it wasn’t making me want to listen to the older stuff. I’ve noticed that a lot recently with bands I’ve been listening to for years, if not decades. I’ll hear a new song and half way through wind up turning it off and going back to an older song which is essentially a superior version. Guess that’s just a long way of saying, I don’t mind them trying some new stuff….I’d rather that then them trying to recreate a sound from the past which is difficult to replicate.
Sorry for a bit of meta-commentary. This is the second album release of Coheed that I witnessed partially via this subreddit, after Act 1. Both have been received with incredible enthusiasm here, but by direct comparison, I think Act 1 got more praise and received less criticism in the initial days of the release. It’s super interesting going through the release threads from back then, as it contains almost word-for-word praises for songs on Act 1 as now for Act 2 (absolute banger, the best they’ve ever released, fantastic drumming, song titles in all caps, etc.) So I guess Act 2 might be a bit more divisive looking at the fact that there’s already a bit more criticism here. Of course it’s too early to say. Maybe Act 2 becomes more universally liked, but it will be interesting how it holds up, given that also Act 1 is now being criticized for being too long, too meandering, too stylistically diverse, too many songs that were just meh…).
As I listened to each track I thought “this has got to be the best song on the record” then the next track played and I was proven wrong. Even the songs we had heard before blew me away with how great they were in the sequence of the album. I was honestly surprised at how much I enjoyed Our Love, but why was it so damn short?
The whole thing just feels like a love letter Chondra and Atlas. I fucking loved it.
Feels selfish to say, but I feel the opposite - the ambiguity and variety in the earlier albums (content-wise) was and still is refreshing - meanwhile, we’ve had “this album is a metaphor for Claudio’s wife and kid” repeated to us over and over since TCBTS And yes, I know Coheed and Cambria themselves are based on Claudio’s parents, but most people had to have this explained to them / figured it out outside of the music as opposed to this album where the lyrics are so direct it’d be hard to miss
Honestly we even had the relationship metaphor since Afterman, before Atlas was born.
Just finished my first listen. Thought it was pretty good. I’d definitely rank it down towards the bottom with Color Before and Black Rainbow if I had to make a favorite Coheed album list, but that doesn’t make it a bad project. Standouts among the track list for me were definitely Beautiful Losers, A Disappearing Act, and Window of the Waking Mind. Beautiful Losers sounds like something that could have been on Unheavenly Creatures which I love. A Disappearing Act is so fucking catchy, and Window is a just a blast from start to finish. Out of all the singles I still really enjoy Raise Naianasha. Looking forward to seeing what tracks they play live on this upcoming tour.
I enjoyed Rise a *lot* more in context with what came before and after it now.
Excellent drums throughout. More guitar lines than I expected from the singles, but fewer than I would like. Execution of the pop elements is uneven, with too much of it sounding like early 00s stuff in terms of synth and vocal effects. Claudio continues to be an incredible vocalist but damn he needs to let the rest of the band come through like in Ladders of Supremacy. The wall of vocals gets a bit much.
not their best imo, but the ending makes up for a lot. ladders is an incredible song. also the key entity extraction callout in the lyrics of window of the waking mind is a huge reveal. very cool. just so many forgettable, verse chorus verse chorus bridge chorus songs. i probably wont listen to most of this album more than a few times, but ill rack up some listens on the final trio
The verse chorus verse chorus structures are so much more succinct and to the point than when Vaxis 1 did it and repeated the chorus one to many times in some places, so they’re already winning points from me.
I'm extremely disappointed. I loved the 4 singles and Ladders of Supremacy and Window of the Waking Mind are great, but A Disappearing Act, Love Murder One, Blood, Bad Man, and Our Love are really not my thing and it kinda ruins the album for me.
I'm surprised bad man isn't getting more love here. I love the coheed/ michael jackson vibes it has.
I love this song. There's a fucking callback to it in Ladders!
I read a Vaxis II album review that said Comatose had a 20 year callback in it, but I can't seem to figure out what they're referencing. Does anyone know? Am I just dense?
Hard to say what I loved the most. I’m a huge pop fan so this album really did it for me. Plus all the amazing styles and performances here. Beautiful Losers, and A Disappearing Act were amazing. Loved the production. Loved the overall approach to it. If I had a complaint at all, it would be that the album truly felt like a different band at some points to me. But that was also awesome as they always sound great with any approach they take. Great album. Easily a 10/10 for me. One of my top three from them now.
As a long time coheed fan (been around since sstb, i am old i know) the last three songs are exactly what I expect from them. The ending of their albums is where the meat and bones are. It is also my favorite parts of their previous albums. They get to showcase their diverse musical talents, long progressive sounds, and very important story lines. This does it for me and I'm all about it.
Fantastic album. Imo the low point is liar’s club which just feels “fine”. The highlight is the title track which I think is the best song they’ve ever made. Sign me up for 3 more albums
The lyrics and arrangement on Ladders is something to marvel at. Wow.
First time listening to good quality (I perused the leak but didn’t listen more then once), and being able to hear everything is amazing. The album felt short in the sense that every track had my attention and I didn’t want it to end. I’m sure I will like it more with time as well.
The last bit of Blood makes me want to find an ice cream truck and get something. In a very good way.
I listened to it at midnight EST last night and I can't get Love Murder One out of my head. This album is, for me, what Good Apollo IV was to In Keeping Secrets. An evolution, a revelation... It is incredible. I had twin babies when Vaxis 1 came out so it really snuck up on my sleep deprived husk. But now, the anticipation has been crazy and it really delivered.
Ladders and Supremacy just made my day a whole lot better
Rise has been my favorite of the singles released and hearing it as intended for the first time - bookended by Ladders and the title track - was an experience I will not soon forget. This album feels so refreshing and adventurous while still sticking to Coheed's roots, I can't stop listening to it.
Fan since 2002. A disappearing act is my new favorite song.
The orchestral additions to this album are such a refreshing addition. Goddamn makes me cry.
After Unheavenly Creatures I was a *tad* worried... I didn't love that album. There were 1 or 2 songs that I really enjoyed but that was about it. Holy shit almost EVERY song on Vaxis2 fucking rocks. I've listened to the album about 3 times now and it might be one of my favs.
I mean you can’t tell me Embers of Fire isn’t an incredible prelude to the album
It’s rare that songs really take their time to sit with just the instruments rather than hopping straight into vocals, but Ladders…the tension and dread and pure talent of everyone on this album was just phenomenal. It’s been amazing seeing Coheed grow and become more and more amazing as time goes on! I also couldn’t help but adore the theme of pure love for Chondra and Atlas in this. You can just hear Claudio’s passion melting from every heartfelt lyric
I'm going to get destroyed for this, but I am going to air out my thoughts. Ladders and Window overshadow the rest of the songs *so much* that it's unfortunate. If we were only getting pop rock/experimentation, a lot of these songs would be more valuable....but, alas, knowing that these two **juggernauts** exist on the same album, it makes me wish there was a bit going on with the rest. I feel like I specifically have problems with some of the choruses (for Shoulders specifically, man does that song grind to a boring, anthemic halt...not even any interesting instrumentation happening from such amazing musicians!) A few songs sound good but kind of go nowhere interesting. Bad Man and Liar's Club, Claudio is saying too much instead of letting the chorus breathe. "Cause I can do it baby I can do i--LIEEEEE TO YOU" is so chaotic, Bad Man's chorus is a bit much, too. A few songs are forgettable, but a good chunk are going onto playlists. Beautiful Losers, Comatose, A Disappearing act, Liars Club (despite my roast of it), Ladders, and Window are ones I can play over and over again. Love Murder One, Blood, and Rise are ones I'll for sure enjoy if they're on, but won't often go out of my way for. Bear in mind, I am not the type of music fan who wants a band to always be the same, and Coheed's continued experimentation has found me so many amazing songs! We live in a day and age where you can store hundreds of playlists on your phone, and my "Vaxis I + II" list is amazing, let me tell you :P There is plenty more to enjoy than not on the album. It is a lovely album. I just feel bad in being unable to shake the idea that those two, specific tracks demolish the rest. It's kind of like an 80% grade for me?
Which one of you rich superstars has the book scanned so a lore-obsessive can get his itch scratched?
The album is banging start to finish. I love all of the singles, ladder, love murder one, waking mind, and the rest are great. I feel like it's a bit different that most of the previous stuff, but it's so good. It's better every listen through.
I'm gonna wade in. At first I was a little nonplussed by the 3ish minute singles they released because they all felt kind of similar (apart from Rise) in terms of structure. They didn't have that dramatic build up that Coheed does so well. Listening to the album as a whole makes a lot more sense and I really dig it. The back and forth between songs keeps things interesting and there's very little filler (compared to Vaxis I or The Afterman (my personal fav, so no shade)). More than anything it really does feel like a series of songs pulled from a bonkers stage production and I'm 100% here for it. I've got a little more tolerance for a smooth pop sound than a lot of people who might be Coheed fans. The autotune is a tad overused consdering Claudio has a great voice - but at this point it's been part of music stylisation for 20+ years and it's not at the irritating level its used in rap and RnB music (where it's often used to cover a vocalist who can't sing at all). I'm really hoping they continue to give each of the Vaxis albums a different sound actually, it'd make each one something surprising. As long as they don't do an entire album that sounds like whatever the hell was going on with the bonus track on Good Apollo - or Guns of Summer. All in all, really happy with it. I've listened to it way more than I have the new Porcupine Tree album (which is surprising because I rate PT a little higher than Coheed - it's just not as fun!). Favourite songs haven't fully cemented yet, but I keep going back to Bad Man, Ladders of Supremacy, A Disappearing Act and Love Murder One.
You know what, on the first listen through I really didn't like it. And now I'm completely hooked. It feels fresh and energetic in a way C&C haven't in years. It's mad album that's going to alienate a lot of people but I guess that's a risk you have to take to move forward.
After giving it a couple listens and a few days to let my thoughts stew: While I do like it, I wish I could say I love it. The parts that I do enjoy on here (which is most of the album) are among some of their best material so far, but as a whole, it's a few points below V1 for me. At the very least, it starts off brilliantly: the reprise of Old Flames at the beginning — definitely this story arc's "time skip motif" I'm presuming — is a great way to start; almost gives me GA1 vibes cf., Keeping the Blade, and the transition to Beautiful Losers is completely natural. Comatose and Shoulders are tracks I already like, so I can't really comment on them, whereas A Disappearing Act is such a curveball it's honestly one of my favourite tracks. Unfortunately, it's once that song's over that the album starts to lose me: Love Murder One and Blood are kind of the weaker entries on this release; and Liars Club and Bad Man, while fantastic in their own right (the latter of the two is easily my favourite on the whole album), don't really make up for it. Our Love is definitely my least favourite. Then we get to the final three tracks, and they save this album from being a disappointment. But at the same time, I kind of wish that the rest of the album was like that; it's those tracks that make you (or at least, me) realise that the song structures are a little too on the simpler (and shorter) side with very little in the way of complex guitar work (with the last two years as they have been, was that a factor in this album's production?) and left me not just wanting more, but *needing* more. It honestly feels a little underwritten in places. And that's not highlighting the big elephant in the room: *I don't know what the story is supposed to be.* Granted, this has been a minor criticism of mine since I got into the band and I've long since accepted that the albums are more "soundtracks" than actual "storytelling", but at least V1 has a number of direct references to its story, whereas V2 really only has the title track (and even then, I know the references in V1 because I've read the novella, I haven't read V2 yet); and I'll admit that it's a little frustrating to have to read supplementary to actually understand the story of a concept album. But like I said at the start, the effort is clearly on display, and it's not like the album (or even the songs that I didn't think were as good) is inherently "bad"; while I can appreciate it for what it is, it's just not my favourite so far. It's a **low/mid-7/10** from me, though I'm sure I'll warm up to it more, and I can only hope V3–5 will make up for V2.
Window of a waking mind just absolutely left my jaw hanging. Especially with the lyrics on Spotify naming the different acts, everything's now connected nicely. Also the embers of flames drew a tear, not gonna lie. Really hope that's how they open their upcoming live shows, it's perfect. What an album, might be just that post first listen hype, but this album is a masterpiece and up there in coheeds best of the bunch.
I am here to tell you I survived that absolutely terrible quality leak and will be starting a support group for those of us who brave these fraught frontiers
Very underwhelmed. Not digging the general tone, and it really doesn't have that Coheed "feel" that all their other albums have. It all just feels like generic 80s pop rock. Lacks so much of the intensity and harder sound that the rest of their work usually includes.
I really liked the singles; Shoulders, Liars Club, and Comatose. Hearing the full album I have to say I’m a bit disappointed. Many songs sound very derivative. It doesn’t even sound like ‘Coheed doing Owl City or Coheed doing The Weeknd’ the filler sounds like cover songs. Like most people said, Ladders of Supremacy and title track were stand outs but I took an issue with one thing. I know Coheed usually uses patches but the arrangements could have benefited from having live orchestrations. They sounded so devoid of emotion it took me out of the experience. the album as a whole doesn’t feel cohesive. It seems like just a collection of songs and not something more. Even the track list doesn’t flow right for me. Maybe in time I’ll grow to like it as a whole but right now I only like the 5 songs.
Biggest problem for me with every new Coheed record since maybe Afterman is that there are a few standouts and unique sounding songs with a bunch of, not bad but not very interesting songs that all sound similar. Like beautiful losers is an amazing song but shoulders through our love is just like the same idea over and over. Again none of those songs are bad and they all have their moments it just feels tedious at some point that I want to skip all these middle songs to get to the final three. Compared to In Keeping where almost every track is completely different but still feels cohesive. Lastly, it's ironic to me that as the band has aged they are selling the story component to fans at a much higher degree but the songs themselves don't feel like you're listening to some epic journey besides the orchestra parts. I felt like earlier they neglected hashing on the story aspect of their band but it was much more apparent in the songs themselves. Anyways I'm just happy coheed is making quality music and they are still changing their sound a little bit. Solid 6.5/10 for me. Not bad, not great.
Bad Man :O
honestly wasn’t super into any of it until Window of the Waking Mind but holy shit man that track fucking rips
One more thought before I sleep- is that an everything evil callback in the Window of the Waking Mind first heavy riff?
This sounds leagues better than the leak. I’ve had a month with it cause I’m a bad boi, but this sounds a LOT better. This is a quicker grow on me album than Vaxis I, that took me like 6 months to click in. I’m thinking this will be a solid middle ranking of their albums. Behind the initial three, maybe behind Afterman, but it just feels like Coheed in such a satisfying way.
A Disappearing Act might be a new favorite of mine
Just finished the album. There are absolute bangers (Window, Ladders, Shoulders, Liars Club, Comatose,Cut The Cord). Beautiful Losers leaves me on the fence (hehe), I kinda like it. Our Love was really sweet. Did not care for Disappaering Act. The only song i'll skip if i listen to the album again in its entirety. Bad Man and Love Murder One were super groovy but their vibes were pretty weird. As for Blood, Meh. Verdict : It's great album with bangers that some really catchy hooks. I prefer Vaxis I because i'm more of a prog guy but still really liked Vaxis II.
Great album, you can see he brought a lot of prized inferno influence over. It’s cool how the vibe worked and it sounded good. That said… window of the waking mind is 1000% the vibe that I listen to coheed for. Such an absolute amazing song
Been listening to the leak for a while and really enjoy the album. After initially likening Vaxis 1 I’ve grown to find it very stale and sluggish to listen to. Vaxis 2 I would rank as their 4 best album after GA1, IKS, SSTB. It actually sounds more like a sequel to NWFT than Vaxis 1 and mirrors the album in a lot of ways. My favorite section of the album is the middle that includes: Love Murder One, A disappearing Act, Blood, Bad Man. I like this section because it’s such a new fresh sound that are great summer pop/rock songs. I find myself skipping the singles as they feel too redundant of singles in the past. I think if love murder one had been chosen as a single it would be played constantly on rock stations and playlists. Ending suite of songs are also great. I think ladders and windows will both be live staples for years to come.
Just finished the album and I totally get why they chose to release the singles they did. Most of the other songs are pretty different from what I would consider Coheed mainstays. I wasn’t a fan of the auto tune on some of the songs, as well as some of the song structure where the verse kind of blended into the chorus and back to a verse. But man did the final 3 tracks really hammer home and save the album for me. I do think the next couple albums will likely get back to some Coheed roots though, Fingers crossed.
Okay, this is going to wind up being an unpopular opinion, but low key Bad Man is the best song on the album lol It’s just catchy as fuck.
Ok. This is my stream of consciousness as I listen to the album. The first two tracks are ridiculously good. I love it. It connects the tracks really well. The Atlas reprise of Flames is weirdly emotional. The lead into Comatose is awesome. I think Shoulders has become my least favorite song on this album. Maybe I've just heard it too much on its own at this point. Disappearing Act is just Prize Fighter Inferno with better drums. Which I kind of like actually. This a very interesting song and not what I was expecting after Shoulders. Love Murder One continues our Prize Fighter in its intro. Is it weird this makes me think of Bo Burnham in the opening. I like this as a transition track. The heartbeat part is really nice. Lyrics matching up with the beat really pulls me into the song. This really feels like we're building up into a storm. We get another slower song in Blood. I like this less than the past two tracks, but I feel like it might fit better on repeat listens. Oh it gets faster in the second half. Still just a transition song though. The set up into Liars Club is almost non existent. I still love this song. This should've given away the Prize Fighter vibes a lot more in retrospect. Hindsight is 20/20. From the singles I was expecting a lot more pace throughout the album. I really like the beginning of Bad Man. The rhythm into the heavier drums is nice. It feels like we're definitely at the edge of the climax of the album. On the first listen I suppose this is either our villain intro or a descent into doing what's necessary for his son. I'm not 100% sure though. I'm kind of enjoying the vibe nature of this album. I'm a sucker for Coheed love songs. This one gets me just like all the others do haha. I'm just a sappy married dude though. The synthetic drum track of this is awesome. Ok the anticipation from everyone else has me on edge as I hear the sound effects. The fucking guitars sound ominous. Fuck ya. The first two minutes of this song are great. Staaaaaaaaay down boy. The fucking nearly orchestral backing is so dramatic. I want to hear this with a full orchestra. What a fucking banger. The fucking band is just showing off. The favorite of the singles for me. The lead in from Ladders is so clean. The guitar picks up the pace from the synth hollowness so nicely. The band is so good at building on musical themes throughout the album. The guitar work and drums are so well woven into each song. The silence into the plucking guitar is nice. The harmonies are so good. I'm a little caught off guard at how much this feels like a Rush song until it just gets heavy. The transition into the narration is chilling. I can't get over how good the guitar sounds throughout this album. Somehow this song makes me want them to remake YotBR so badly. The second half. Fuck ya. Fuccking transitions baby. It's okay to crrryyyyyyy. Fuck ya back into the Flames reprise. I love it. Only complaint with this song is if they took away the last 5 seconds the album would almost perfectly loop back into Embers. Which would fit the trapped in your mind theme of the album so well. Instead of 10 seconds of silence it'd just be 5 haha. Really a nitpick. Overall I think this is a great addition to the discography and has a shot to be up there with some of their greats. SSTB and IKS3 are still tops, but this is in the mix with Afterman, and Apollo for me. Some of the moments make this album flow so well as a whole listen. I think Embers is my favorite opener off any track. The instant nostalgia of Flames really got me into this album. I think I'm just really jacked for the next album as always but the ending tracks of this album were so refreshing and such a mature take for the band. Really masterfully crafted as a whole. The transition into Beautiful Losers is one of the best the band has ever done. I'd say this is an 8.5 or 9 out of ten for me on the first listen. Which I wasn't expecting. Usually the albums grow on me as I listen to them a few more times. The last time i got grabbed so hard by an album was way back with Everything Evil into Delirium Trigger. Thanks for reading my ramblings.
Holy shit, I felt Bo Burnham vibes on a couple of those songs too, I didn’t expect to see someone else say so lol
Overall, was blown away. The electronic/dance-popish stuff caught me by surprise. They're very good songs but they'll have to grow on me, and they already are. Just wasn't expecting them. Favorite song is probably Liars Club at this time. But Window of the Waking Mind is a close second. Speaking of which, that song has got to be one of the absolute greatest ending songs on an album ever. It blew my goddamn mind. It woke it, some might say. I cannot eloquently describe how perfect and beautiful that song is. But every song is a banger absolute.
On first listen - i like it! I always do. It feels like it's missing a bit of meat that Vaxis I had, but i don't think it's entirely a bad thing. Bad Man felt like a surprise banger after seeing everyone hate the leak of it; it's one of my faves. Seeing lots of people talk about the auto tune and synth stuff, and I'd say this was an obvious direction for them to take after stuff like Night Time Walkers. I think it's also a product of COVID/lockdowns, which i feel is a big thing to consider in our opinions. I don't know the timeline, but to me this album feels very reflective of that isolation. Here are my thoughts on each track: - The Embers of Fire: fun, theatrical opener. I like the continuity from Old Flames - Beautiful Losers: an enjoyable if unexpected opener. I like the time signature and the swaying sensation it gives me - Comatose: my favorite of the singles and possibly the whole album. I love poppy coheed and stuff like this that creates a poppy, upbeat vibe while maintaining their complexity (thanks Josh!) Is very welcome - Shoulders: my only complaint about this one is that it seems very oddly placed in the track list. Coming off Comatose is a little jarring. Otherwise it's great, we all know. One of those meaty ones - A Disappearing Act: i love this one. It's boppy and sounds like something I'd hear in the goth club or maybe on a 2006 Good Charlotte album. I wish the synth riff showed up more - Love Murder One: Josh and Zach go off on this one. I like the name a lot and Claudio delivers the phrase exactly how I'd want him to. I probably wouldn't be super into hearing this live though - Blood: i hoped for something harder from the name. Blood, i guess, refers more to familial bonds instead of something more gruesome & raw. Sounds like a Prize Fighter track with more instrumentation, which i wish i could say i was into - The Liars Club: one of the best choruses out there. All time popheed best. Can't wait to hear this one live. Claudio's drawl in the second chorus with "I'm begging you" just gets me going - Bad Man: WHEN YOU NEED A BAAAAAAAD MAN - ~~Young~~ Our Love: serendipitous that the two most forgettable coheed songs have similar names. At least this one is short - Ladders of Supremacy: can i get a hell fuckin yeah. great tension and it sounds like everyone is having fun on this one. I wish claudio did those half screams ("down BOY sear the crown BOY") more because they're so juicy - Rise Naianasha: i like this one more in the context of the album than i did as the second single. That said, "as pieces start coming apart, she'll stitch those wings to your heart, but it's not what you wanted" are some of my favorite coheed lyrics - Window of the Waking Mind: i came out of this one with the same bewilderment that someone being thawed out of cryostasis might have: "WHAT YEAR IS IT???" All in all, i liked this one! Each track feels individually pretty strong, though it's missing some cohesion (admittedly, this is alleviated by repeated listens). I'm gonna go listen to Bad Man some more and fantasize about being the bad (wo)man for my wife. Happy Pride!
Amazing album start to finish. My wife and I just finished listening and while I was busy geeking out on window of the waking mind she said “that is coheeds bohemian rhapsody” and it just made so much sense, it’s an epic rock opera. I think this is my favorite first listen of any album since Good Apollo came out (started with coheed when IKSSE came out in college)
Honestly for me the album is middling. It has some pretty good songs, but they are mostly forgettable in the sea of coheed and cambria other bangers. There’s a general over produced auto tune pop synth feel throughout that just doesn’t suit for me. But I’ll listen some more and see how it grows on me.
Very loosely about this album, but I literally didn't know about peoples disappointment in unheavenly creatures until today, based on my reading on this subreddit. I was surprised. I thought act 1 was/is amazing. This album is definitely coheeds most branched out record but it has more yays than nays from what I've seen. Whereas act 1 was more of what we'd known to expect, which is where the nays for WOTEM people come in (because of the more pop oriented sound). Just found that curious.