There is a new Coheed & Cambria song.
It is 10 minutes long and we’re re-entering The Amory Wars story line. (The Future? The Past? DOES IT MATTER?) (It kind of does…I’m pretty sure we’re post the fall of Supreme Tri-Mage Whilhelm Ryan…but I could be wrong.)
This is all very important and exciting if you are me, or any of my siblings, or our high school friends.
I don’t think I need to fully outline my very long, emotional history with this band again, but to catch up people that are new:
I was a fourteen year old dorkus who loved Billy Joel and Boy Bands and showtunes, and then I heard Coheed and became a fourteen year old dorkus who also loved Emo. My love of the rest of the genre has faded but Coheed stuck, due to them, well, being SO FREAKING NERDY, an incredible band to see live, and constantly evolving their sound, while still sticking to what attracted me to them in the first place. (Hard driving guitar, ultra violent lyrics and space ships)
There, you’re caught up, on to the new song.
WARNING: What follows will probably require you to be passing familiar with the mythos of The Amory Wars and Coheed & Cambria to make any sense at all. I have neither the time nor inclination to explain that whole mess to you. Google it. There will be some parenthetical for context though.
So we know that “our story begins with the romance of two unheavenly beings.” I assumed this meant Coheed and Cambria Kilgannon, the Beast and Knowledge, IRO-bots created to destroy Heaven’s Fence, and free the planets of the Keywork from the tyrannical control of Supreme Tri-Mage Whilhelm Ryan. (A sentence I will never get tired of typing, btw)
But then we go on to learn that our narrator here is, “their son, Vaxus.” NOW, this intrigues me, because that means, we may not be talking about Coheed and Cambria up top, since their son is named Claudio, (also Matthew, but Matthew is long dead.) (His parents killed him thinking that they were preventing the release a virus called The Monstar which would destroy The Keywork.) (This was a lie and they were very upset about it later. Also, they both died.) I mean, it could still be Claudio talking, to someone named Vaxus? Or this is a new title? Or, we’re far enough beyond Claudio’s destruction of Heaven’s Fence as he accepted his destiny as The Crowing that this is a completely new character who’s dealing with the wreckage? OR, as we’ve learned that “The Dark Sentencer” is a prison, it might be Claudio’s time in prison. (Between The Second Stage Of The Turbine Blade and In Keeping Secrets Of Silent Earth)
I don’t know, but I’m curious. Amory has always been very influenced by Star Wars so seeing the rise of a new savior in a post Force Awakens and Last Jedi world would not be totally ludicrous. (Plus Claudio’s talked about a sequel a few times, but decided he’d rather write nice little pop songs about his wife and baby for a while, because I guess he can do whatever he wants.) (“Atlas” and “You’ve Got Spirit, Kid” are pretty great.)
But what intrigues me the most is the repeated use of the phrase “Welcome Home.” “Welcome Home,” is of course, one of the band’s most recognizable songs, since it was in Rock Band. (Also, they tend to either close a set or start an encore with it at live shows) Claudio Sanchez tends to repeat imagery and themes from album to album, The Keywork itself and it’s accompanying musical theme (Which I think is supposed to represent the passage of time, if I’m recalling correctly) the Kilgannon family, themes of tragic or lost love, appeals to a God who may or may not be listening, rebellion against horrifying authority, lines crossed that should never be, child murder, mad scientists, space ships, a sentient evil bicycle who wishes the death of a main character, and brings it about through a meta narrative about a writer. (Everything sounds weird out of context!) (That one, actually, is always weird.) (How’s that work? You’re a bicycle!) So I feel like that’s probably significant.
Either way, while I talked to Mary about it last night I just got more and more excited. “It feels like the old days, when we had no idea what the fuck he was talking about!” I said. She also noted the music feels heavy again, which is true, and exciting.
Also, I’ve had “A Pharoah Story” from Joseph And The Amazing Technicolor Dreamcoat stuck in my head for a week, completely inexplicably, and now it’s been pushed out. Which is a relief.
Children Of The Fence, we’re back!