The Overwhelming Excesses: Coheed & Cambria Live in Milwaukee (12/18/07)

As a latecomer to Coheed & Cambria, I don’t understand the long-winding science fiction/graphic novel-type tale that populate the alternate reality for their recent albums, a story that comes to a close with 2007’s Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow. However, on stage, I was drawn to their Rush-like orchestration, jam band-like visions of rhythm, and jazz combo-like playing. They explore the intricacies of hard rock like Metallica, but because the emotional accessibility of the songs, Co&Ca also owe much to the Jimmy Eat World grandfathers.

Yet, with the addition of female backup singers, it could’ve been Bon Jovi on stage, and I could hear Paul Westerberg singing, “And we go on after some lip-synch chicks” (Replacements’ “Talent Show). There’s also the tendency towards excessive Van Halen solos even done behind the back.

There’s dueling, Satriani-type, talking guitar solos. There’s Allman Brothers Band meets progressive rock. Yet, at its very best, Co&Ca follow the vibe the way the Doors could spin out on some jazzed jam and then return to the most rocking out finish.

But then it all came to a let down conclusion for the set. A half hour jam included a drum solo that didn’t hit enough high points to make it worthy of the length. The Doors could go over the ten minute length on a song, because they delivered musical highs and lows, building to a critical, pivotal moment. With Co&Ca instead, though, their jam wandered, sputtered, and stuttered, and ended 10 minutes after leads Clauido Sanchez and Travis Stever had already left the stage.

Coheed & Cambria
Columbia Records