Coheed And Cambria - The Unheavenly Creatures Album Review
Next up is title track “Unheavenly Creatures”, opening with
a synth riff which wouldn’t be out of place in an 8-bit video game before
kicking into the chorus, the first of the album’s many great hooks. It’s one of
the safer tracks on the record, with a fairly standard structure and leaning
into the band’s slightly poppier side, but is an absolute earworm nonetheless.
“Toys” is one of the weaker songs on the album; the lyrics get a bit too
repetitive by the end, although some strong guitar riffs save it from being a
“Black Sunday” is where the band begins to play around with
song structure a bit more; softly sung verses lead into a heavier chorus,
before taking an about-turn at the midway point into a slower, more
triumphant-sounding bridge. “Queen of the Dark” suffers similar problems of
repetitiveness to “Toys”, but the sombre guitar riffs, pounding drums and
emotion-laden vocals expertly craft an ominous and dramatic atmosphere that
makes it all worth it.
This is followed by “True Ugly”, a fast-paced, punkish
number, and then “Love Protocol”, another pop-ish track with a soaring chorus which
acts as one of the strongest hooks on the record and demonstrates Sanchez’s
superb vocal range. “The Pavillion (A Long Way Back)” starts off as another
slow song with a lovely repeated background riff, before building into another
soaring chorus, and gradually adding violins to create a sweet, hopeful melody.
“Night Time Walkers” brings in more synths and distorted
vocals, leaning into the sci-fi setting, and is another example of Coheed going
back to the tangled, non-conforming structures of their earlier records; around
the midway point, the crashing drums cut out, replaced by simple synth and
guitar melodies as the previously dark lyrics are replaced with a lighter
refrain. “The Gutter” follows with a quiet open that quickly crashes into a
slow, heavy number where Sanchez shows off some more aggressive vocals.