Revisiting The Afterman by Coheed and Cambria

Hello, welcome to AsterTracks! In case you were unaware we are doing a mini series diving into some of the more lesser appreciated Coheed and Cambria records throughout the month of April. If you wish to read the piece on Year of the Black Rainbow you can find it here.

The Afterman is Coheed’s sixth, or sixth and seventh, full-length released in 2012 and 2013 as a double record. I recall that at the time the band had announced dates for both parts making this seem like a more holistic experience as opposed to the Good Apollo records, which were extensions of each other but at the same time their own entities. The concept on this one promised to be much grander, being a prequel to the prequel exploring the mission of Sirius Amory as he aims to study the Keywork, the force that binds the planets in the storyline together. Now before I go on, normally on a Coheed write up I wouldn’t even bring the story up too much, but on Afterman I find it a bit necessary for reasons we’ll get into later. That aside I remember when this record was announced I had not been deterred from how underwhelmed I was by the previous album in fact I was very much looking forward to these. I also remember getting a lot of play time out of them and I’m not sure why it’s taken me until now to revisit them. All that to say I had high hopes that these would live up to a better memory than on last week’s post even though I know to the fandom at large they aren’t held in high regard.

Even with the album intro, “The Hollow,” we’re off to an immediate better start. In last week’s post about Year of the Black Rainbow I commented on how I felt “One,” the intro on that record, was the half-thought out version of this track and I still agree with myself there. The piano track here is a lot more pronounced and the foretelling in both sound and narrative is so much stronger. The dialogue alongside the atmosphere with the clanking bars paint such a better picture of what’s to come without sacrificing any sound design. That and dialogue insertion is a lot stronger than lyrics that just sound like they’re read from a comic book, it sounds like the stronger form of things being done on From Fear Through the Eyes of Madness.

“Domino the Destitute,” the first full song and lead single, is a classic Coheed eight minute prog track with so many moving parts that you don’t feel that length at all. The performances themselve, especially on this cut, almost feel off the floor and just delivered to us live. It’s a move similar to the title track on In Keeping Secrets of Silent Earth: 3 where it's a showcasing of how talented this band is with a lot of stand-out instrumental performances various showings of the track’s main riff, while also being an introduction to the story elements presented on the record only in a much more explicit way. In order to fully grasp this record’s concepts, a slight understanding of the story Claudio Sanchez has written needs to come to your attention. The majority of Ascension’s premise is Sirius Amory’s exploration of the Keywork in attempts to chart it but on arrival finds that it is some sort of afterlife whose inhabitants are reliving their worst moments leading to their deaths on repeat. With Sirius among them, they attempt to take control of his body and go free. With that in mind I can go into the performances and decisions and how they mix into that. There are a couple of vocal bits I don’t love, the annunciation on “brother” toward the end and the “la la las'' throughout the track, though I feel the latter is necessary. Those “la la las'' feel like the spirits surrounding Sirius taunting him now that he’s found his way to their domain. That and the lyrical content and its deliveries really help represent Sirius’ and Domino’s fight for control over one another. See the line;

“This disaster binds us absolute, a thousand lives you tell yourself that no one ever loved you right?

But I would do anything for you, the question fits the question mark.

Your signals crossed, your message lost, ha ha!”

That passage alone shows the duality in realities going on. In his near possession Sirius relives Domino’s life as a boxer who fell in with the wrong crowd and whose brother tried to save him but failed. Outside of that “dream” Domino has destroyed Sirius’ ship and stopped the transmission of his rescue request. These two things are happening simultaneously and to Sirius either can be reality at a given moment, so it makes sense that to us they can be the same.

The performances on the title track still feel raw but here there’s some additive production in the string sections. The first chorus brings in an element that I never considered before taking notes on this, which is those strings and their relationship to the line;

“If he’s not here, then where?”

On Ascension much of the narrative shifts from song to song between Sirius’ adventure and his wife, Meri, who saw Sirius’ mission as suicide. On this track she wonders if he’ll ever return and when she ponders that the strings behind her words are muted and eerie with a sense of mocking doom even in the tender moment because where he has found himself is quite literally Hell. In the band’s progression, however, the second use of those strings are huge and beautiful because to her, it is a tender moment.

“Goodnight, Fair Lady” is a song that is on even from the interlude that leads into it on “Mothers of Men.” In this scene Meri is nearly drugged by a man at a bar when another patron notices what’s going on and stops her from taking her drink. Appropriately the interlude is built with the sound of glass tapping, a contrast to the tapping prison bars on Sirius’ side, as well as muffled crowd conversations and static-filled electronic bits that sound like they’re lifted from “The Willing Well” suite on From Fear Through the Eyes of Madness. All of these really paint this audio representation of the sensation of passing out.

The song itself is, what I would call, a prog rock showtune. Similar to what I talked about last week on “This Shattered Symphony” only that had a sense of drama to it and this sounds more like the demeanor of a fun-loving theater kid. It has the opening riff of a normal Coheed song and would have fit right in on the first two records. On release I remember the song raising eyebrows for having this totally fun, cheerful energy to it but the reality of  its narration being the actions of a man being a predator in a public setting. Lyrically we’re just describing what’s happening but it doesn’t really sound corny it just sounds like the soundtrack to a musical. Lines like;

“Let’s get crazy I’ll make my pass, the drink turns over the glass smashed.

And with the kindness of my smarts I’ll replace your pleasure with a friend at the bottom.”

Are literally just describing what’s happening in a way that’s so unlike this band but creates such an interesting moment in their discography. That and the song doesn’t have high production like a play, it still sounds raw and off the floor, but it does have an illusion of that. The instrumentation on the lines I quoted earlier have this feel of almost being like Sanchez’s extras and backing vocalists on stage where really it’s just the rest of the band playing out the song. The outro has a big rock feel to it without it really being one in a way that I could see a performance ending with thundering applause.

The interlude leading to “Holly Wood the Cracked” is another genius segue. The bar tapping goes from Meri to Sirius’ perspective. We hear “Go to Sleep Little Baby” played on a music box which bridges the two songs this moment lies between not only in sound but in concept as well. “Goodnight” as an aspect of the former’s title and themes and the eerie, yet lulfull presentation of introducing this new character who, in life, was a murderer and still feels she’s owed more life to live.

The interlude leading to “Holly Wood the Cracked” is another genius segue. The bar tapping goes from Meri to Sirius’ perspective. We hear “Go to Sleep Little Baby” played on a music box which bridges the two songs this moment lies between not only in sound but in concept as well. “Goodnight” as an aspect of the former’s title and themes and the eerie, yet lulfull presentation of introducing this new character who, in life, was a murderer and still feels she’s owed more life to live.

While a lot of this record does feel raw, as I keep saying, this almost feels over produced. A lot of the things we do here, the sound effects, the maniacal laughter, the bass drop really paint an unhinged picture of the character to match. At that, while it doesn’t feel live it does sonically fit in with everything in its own right. I think “Holly Wood,” while a different animal for Coheed is a representation of what the band can and doesn’t have to be afraid to do; Get a little weird, dip into both the prog and post-hardcore influences and make a song that takes somes risks.

I have to point out yet another interlude as, again, it both sounds compelling and adds something of worth to the story. In this one, after the final chorus in “Holly Wood,” there is a loud bang, a distant voice and the marching of an army. This doesn’t quite bridge us from concept to concept but it does represent “Vic the Butcher,” the song's titular character, quite well. Vic is a man that in life took what he wanted no matter the cost. He’s a spirit that is far more powerful than all the others and it makes sense that he could pull Sirius from one spirit’s possession attempt into his own.

The song, however, isn’t as powerful as he is, in fact it’s one of the weaker ones here. On “Vic,” Coheed is so comfortable in their performance that the only remote risk we take is a screeching vocal effect that may as well be recycled from “Three Evils” off In Keeping Secrets. That and, while Sanchez was certainly passionate about the real life inspiration behind this scene, it isn’t really present in his execution. Outside of the narrative, the song is about Sanchez being fed up with his apartment at the time and an interaction with an unkind fan near it; “One eighty-four, let’s burn it down.” Unlike what I pointed out last week in “World of Lines,” however, that heat just isn’t there and it sounds like he had it when writing it but when he recorded it he had very much calmed down. I will compliment the end sequence’s percussion and group vocals, both conceptually and its execution, but the track could afford to be a bit more uncomfortable.

“Evagria the Faithful” goes on a little long at six and a half minutes and it sort of feels like the outro refuses to end. That being said, that very bass riff driven piece of music paints another vivid narrative picture. In the dialogue presented we’re made aware that while Sirius is on the brink of death yet another entity is coming for him. The sounds that make up the front and back end of the track have this sense of approaching danger until the chorus changes to a much more peaceful and euphoric atmosphere. In contrast to Sirius’ encounter with Domino, Evagria assures him that there is no danger here;

“I am not who I seem, who you thought I could be, the support you can lean up against when you need.”

Has these surround-sound like backing vocals to it that represent what she is doing in this scene, taking Sirius in and keeping him safe, for now, from the more vengeful spirits. In the story, Evagria had made peace with the life she had lived and become a benevolent spirit instead, having no interest in taking Sirius’ body. So, when he realizes this, the song’s sonics change to match. The lyrics on the chorus;

“Goodbye forever my darling, whether I was everything you thought I’d be or not.”

To me feels like a moment that represents both of their individual arcs as well as their unified moment. Evagria reflects back on the family she left behind after passing on, while Sirius thinks back on Meri and comes to make peace with the fact that he won’t be returning home to her. One last comment on the sonics of this one; there is an ongoing heart-monitor sound that is used almost as an instrument, almost to represent Evagria’s final moments in a hospital with a heart disease. Yet another way the record presents itself to you like a musical that you can all but see.

“Subtraction” is the ballad that closes the first record. It’s just acoustic and vocals with some electronics behind it all that make for a more full presentation. The final notes of the track are a beautiful way to end the record as well. My only issue with this track comes from the fact that it sounds so final that it feels weird in consuming the records presented as a whole because you know there’s still half of the tracks left. I want to emphasize here that I took these notes based on a first re-listen so, not to break your immersion, but let’s see if I still feel that way starting Descension.

So, when I got to “Pretelethal,” which opens Descension, I found that I was right and wrong. I’m a bit torn because “Subtraction” does still sound like it should end a record sonically but this track also feels like an extension of the picture by opening with yet another acoustic riff. It also makes sense story wise but we did rearrange the plot order of songs on From Fear so I find myself asking why we can’t do it again. Instrumentally and performance wise I feel this is one of the strongest tracks and I like how it sounds the concepts of “The Hollow” and “Subtraction,” combined, then stepped way up with its huge percussion and riffs and the peaceful sounding keyboard which underlies a massive prog song. The whole thing doesn’t really sound like a strict introduction to a record but more a re-introduction to a half finished thought, which makes sense given the context. The way the track ends with its descending key passages also adds to the theme of atmospheric transitions really well. My only complaint here is that lyrically this is sort of a step back to Year of the Black Rainbow. It feels like Sanchez is singing narration and it just comes off as awkward and I don’t think lines like;

“This world will miss none of us. The sick we cured, the bad we just…

Who will repair this broken heart?”

Really go over well. I want to preface the next section, again by saying I was a bit worried going into “Sentry the Defiant.” It was a song I held extremely high in 2013 and even the year before with its leaked demo so I was hoping I would still like it all these years later.

I was worried for no reason, this is as much of a banger as I remember in fact it might be the best song on both records. There is great suspense built here with the acoustic intro leading into a re-intro that utilizes everyone. That sensation is reused with the first verse being completely bass and percussion led and then the chorus being huge. I didn’t even realize until writing that this is the first use of a guitar solo on the entirety of Afterman. Sanchez is absolutely destroying the vocal side of this track and really shines on the one version of the chorus without backing vocals. We also again use a lyrical strategy where there is meaning for both Sirius’ and Sentry’s arcs.

“Be defiant, the lion, give them a fight that will open their eyes.
Hangman hooded, softly swinging, don’t close the coffin yet. I’m alive.”

Sentry, in his own loop, re-lives being put to death by Vic for treason he did not commit, while Sirius has resolved to escape where he is and make it home. Both are using this resolve to fight against the vengeful spirits and make a path for freedom. We even get to see Sentry pass on to the same state as Evagria, having moved on from his own regrets to aid Sirius;

“I will now bleed for what I believe in, no more mistakes for them to make for me.

So goodbye, it’s my time for me to be me.”

I recall before any singles had officially dropped from this half of the record “The Hard Sell” was on a Guitar Center compilation so it was the first real taste of Descension. It’s a more comfortable song that for sure sounds guitar oriented with its classic rock-esque solo section and an outro that goes on a bit too long before fading out. It isn’t a bad cut but not one that’s incredibly stand out.

There is a lot of instrumentation I like on “Number City” between the bare strumming, massive basslines and even a horn section at the end. Between all these elements and the vocal delivery it almost sounds like Coheed’s attempt at city pop. The only real issue I take with the track is the section where a doctor is describing a patient's critical condition. I can appreciate the fact that in this scene Meri has been struck by a car and is losing her life but it just feels way too on the nose.

On the last entry in this series, I noted how “Far” felt like an inauthentic attempt to sound like adult contemporary. “Iron Fist” is a song in that vein that doesn’t really have the same problems. It’s a track that sounds like it would play comfortably sitting down and even has some banjo plucking here and there. There’s even an iteration of the chorus that’s spoken word similar to “Pearl of the Stars” only this time it doesn’t sound so creepy, just natural.

“Dark Side of Me” was the single to Descension and while it’s another safe cut, it’s also a damn good one. This one not only sounds huge but the sentiment is there and on this track Sanchez is really in his feelings, in fact I almost tear up with him. I don’t feel the lyrics on Descension are quite as strong as Ascension but on this one Sanchez really does justice this feeling of despair in Sirius; though he’s made it home, home is nothing without the love of his life now that Meri has not only moved on and found someone else, she’s passed away just as soon as he can see her again. It’s heart wrenching. The interlude found at the end is also the perfect way to end that trend on the record, synthy and hopeful in contrast to the eerie and mysterious keyboards in “The Hollow” and a dialogue that sets the stage for the grand open ending.

“2’s My Favorite 1” ends the album on a beautiful note. The one final atmospheric synth and glockenspiel piece of music not only represent Sirius’ descent back into Hell to help Meri move on from her regret as a final mission but it also brings a nostalgic sense as someone who enjoys the back catalog a bit more but is coming to appreciate this piece of the band’s history more than I did at the start of this.

On Afterman, Coheed does the best job of representing their storyline, something that not even the first four records do all that impressively well. The visual picture you get in your mind is so well supported in the sound scaping, it’s so vivid you can practically see it. It’s sort of baffling how we went from a record that sounded like reading quotes from a comic book over sloppily put together prog rock to something that sounds like a musical you’re watching with the monitor off, but I digress it’s probably the best it’s done even to date. Not only that but the record is just good without you understanding any of that. My biggest complaint, if you can call it that, is that there are a lot of comfortable moments on this record, so much so that I omitted discussions on a lot of individual songs simply because they don’t bring anything new to the table. Not that there’s necessarily an issue with that but when they’re so high in quantity it starts to wear on you, especially in the second half of the overall experience. In fact I found Descension to be a lot more comfortable than Ascension in a way that, in retrospect, sort of feels like we just waited four months and a totally new calendar year for a lesser side b. The entire point of me doing this project was to see why I didn’t go back to these records and on this one I don’t really have a good answer, in fact I think I’m going to be correcting that.

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