#coheedandcambria — Public Fediverse posts

Crucial Track for May 2, 2026: "A Favor House Atlantic" by Coheed and Cambria

#CrucialTracks 🎶 Today's prompt: A song from college or early adulthood.

One of my first Little Brothers in my music fraternity introduced me to his favorite band, Coheed and Cambria, via A Favor House Atlantic.

https://link.deezer.com/s/339J85FcxDfFrKic8AU7V

#Music #CoheedAndCambria #RockMusic

View entry:
https://www.crucialtracks.org/profile/djtoebeans/20260502

New post: Shinedown announce new album EI8HT and massive 2026 UK arena tour, new single streaming now https://moshville.co.uk/news/2026/02/shinedown-announce-new-album-ei8ht-and-massive-2026-uk-arena-tour-new-single-streaming-now/ #CoheedAndCambria #Shinedown #ThoseDamnCrows

Sometimes you just queue it all up... #Music #CoheedAndCambria

Amazing https://youtu.be/M4T6fGUB190?si=QqoX7JWgrw8jUkAp

#coheedAndCambria #OneLastMiracle #FuckTrump

#SteppingStonesSongs, or songs that are good starters for a genre/subgenre, easing curious ears in to the particulars of that style of music is the topic, suggested by @lpl, for Kitty's #TuneTuesday.
What about #ProgMetal? The genre is diverse enough to have several entry points, based on sound alone.

The Most Accessible door:

#CoheedAndCambria: Gravity's Union

https://song.link/t/35539716

This opens to The Mars Volta, Thank You Scientist, and Closure in Moscow.

Upside of going to the #CoheedAndCambria gig on my own is that I got to stand wherever I wanted and got quite a good spot in the middle near the front.

Downside is that the spot right in the middle near the front is where the moshpit opened up like a bomb dropping.

Excellent gig though.

If this life ends early, would I have spent our time right?

Here at your mercy, or lost in our biggest fight

I'm so afraid of a life lived without you

But we're made to wait for the truth to come soon

But should you go before me, I'll be right behind you

It won't get any easier as I start to get old

Please share with me something before I lose control

Life's a parade, travelers marooned

Here in a play that shortly will end soon

But should you go bеfore me, you'll know I don't want you to go

Coheed and Cambria - Yesterday's Lost

This week for Thursday Five List, @HauntedOwlbear gave us a theme of Sentencing. No, not about crimes...songs with titles that are complete sentences.

Okay, let's do this.

Kelly Clarkson - My Life Would Suck Without You https://song.link/us/i/301664592

Coheed and Cambria - Welcome Home https://song.link/us/i/307654871

Fall Out Boy - Thnks Fr Th Mmrs (Pronounced Thanks for the Memories) https://song.link/us/i/1440787031

Toby Keith - How Do You Like Me Now? https://song.link/us/i/1440747080

Meghan Trainor - No https://song.link/us/i/1229163693

#Music #ThursdayFiveList #Sentencing #FallOutBoy #CoheedAndCambria #TobyKeith #MeghanTrainor #KellyClarkson

New post: Festival Review: 2000Trees 2025 – Scott’s View https://www.moshville.co.uk/reviews/gig-review/2025/08/festival-review-2000trees-2025-scotts-view/ #CoheedAndCambria #GroveStreet #Kneecap #MillionDead

New post: Festival Review: 2000Trees 2025 – Scott’s View https://www.moshville.co.uk/reviews/gig-review/2025/08/festival-review-2000trees-2025-scotts-view/ #CoheedAndCambria #GroveStreet #Kneecap #MillionDead

New post: Festival Review: 2000Trees 2025 – Scott’s View https://www.moshville.co.uk/reviews/gig-review/2025/08/festival-review-2000trees-2025-scotts-view/ #CoheedAndCambria #GroveStreet #Kneecap #MillionDead

Okay, so Thursday Five List is all about making your own lineup for a dream music festival with a theme from @loewe entitled "T5L Festival."

So, if we're making MDMRN-A-Palooza with music I want to hear...it's going to get confusing fast. I'll give you the list of five artists I'd love to see at said show and leave it at that.

1. Dreamcatcher
2. Clean Bandit
3. Coheed and Cambria
4. Weird Al Yankovic
5. Queen (original lineup...don't ask how).

#Music #ThursdayFiveList #T5LFestival #Dreamcatcher #CleanBandit #CoheedAndCambria #WeirdAl #Queen

Okay, so Thursday Five List is all about making your own lineup for a dream music festival with a theme from @loewe entitled "T5L Festival."

So, if we're making MDMRN-A-Palooza with music I want to hear...it's going to get confusing fast. I'll give you the list of five artists I'd love to see at said show and leave it at that.

1. Dreamcatcher
2. Clean Bandit
3. Coheed and Cambria
4. Weird Al Yankovic
5. Queen (original lineup...don't ask how).

#Music #ThursdayFiveList #T5LFestival #Dreamcatcher #CleanBandit #CoheedAndCambria #WeirdAl #Queen

Okay, so Thursday Five List is all about making your own lineup for a dream music festival with a theme from @loewe entitled "T5L Festival."

So, if we're making MDMRN-A-Palooza with music I want to hear...it's going to get confusing fast. I'll give you the list of five artists I'd love to see at said show and leave it at that.

1. Dreamcatcher
2. Clean Bandit
3. Coheed and Cambria
4. Weird Al Yankovic
5. Queen (original lineup...don't ask how).

#Music #ThursdayFiveList #T5LFestival #Dreamcatcher #CleanBandit #CoheedAndCambria #WeirdAl #Queen

Okay, so Thursday Five List is all about making your own lineup for a dream music festival with a theme from @loewe entitled "T5L Festival."

So, if we're making MDMRN-A-Palooza with music I want to hear...it's going to get confusing fast. I'll give you the list of five artists I'd love to see at said show and leave it at that.

1. Dreamcatcher
2. Clean Bandit
3. Coheed and Cambria
4. Weird Al Yankovic
5. Queen (original lineup...don't ask how).

#Music #ThursdayFiveList #T5LFestival #Dreamcatcher #CleanBandit #CoheedAndCambria #WeirdAl #Queen

Okay, so Thursday Five List is all about making your own lineup for a dream music festival with a theme from @loewe entitled "T5L Festival."

So, if we're making MDMRN-A-Palooza with music I want to hear...it's going to get confusing fast. I'll give you the list of five artists I'd love to see at said show and leave it at that.

1. Dreamcatcher
2. Clean Bandit
3. Coheed and Cambria
4. Weird Al Yankovic
5. Queen (original lineup...don't ask how).

#Music #ThursdayFiveList #T5LFestival #Dreamcatcher #CleanBandit #CoheedAndCambria #WeirdAl #Queen

https://www.europesays.com/uk/271116/ Calva Louise – Edge of the Abyss Review #2025 #4.0 #CalvaLouise #CoheedAndCambria #crossover #DiabloSwingOrchestra #Dubstep #EdgeOfTheAbyss #Electronica #Entertainment #GrooveMetal #Jul25 #Katatonia #KateBush #KingGoat #MascotLabelGroup #MascotRecords #Metalcore #MonsieurPeriné #Muse #music #PopLatino #ProgressiveMetal #SystemOfADown #TheKovenant #three #UK #UKMetal #UnitedKingdom

Calva Louise – Edge of the Abyss Review

By Angry Metal Guy

Genre is a funny thing. Calva Louise will almost certainly be called “Crossover.” Their sound is a combination of elements that, if I read each one individually, would make me cringe or shrug my shoulders. Seen grouped on the page, I might ask, “How would that even work?” What I wouldn’t expect is an album that excites me. The kind of excitement that drives one to spin the record again immediately. The kind of excitement that leads to sharing the record with anyone who will listen and lengthy discussions of the details of whether someone else noticed the Fleshgod Apocalypse piano arpeggios in track four.1 But Edge of the Abyss is a rare record that manages to feel wild, unpredictable, and yet addictive—evocative—all at once. And while it’s apparently a concept album, the real story that I’m following is the one told in the songs that add up to something greater than the sum of their parts.

The strength of Edge of the Abyss lies in its fusions, and I mean that in every sense. Calva Louise doesn’t blend styles; they smash them together. “Tunnel Vision” rips open the record with a sugar-rush hook, bouncing within three minutes from pop-chorus to dubstep drop to metallic groove. “W.T.F.” is exactly that: frenetic, agitated, and punky. “Aimless,” the album’s first single, is a real highlight, threading unpredictable melodies, classical piano runs, and crunchy metal riffage into something that feels like “Justice for Saint Marie” (Diablo Swing Orchestra) but with a dembow beat.2 Each song can be emphasized for such moments: “Hate in Me” swaps between Katatonia and Kate Bush without skipping a beat; “Under the Skin” gives Lacuna Coil while “Barely a Response” blends 3/Coheed and Cambria and Muse to create something that just vibes right—blending proggy post-punk with The Fall of Hearts.

The balancing act is accomplished by Edge of the Abyss being extremely well-composed. These songs, while poppy—slick, catchy, memorable—aren’t glued together Frankenpop. Instead, they’re meticulously assembled homunculi, each with its own little soul.3 There’s a sense throughout the first half of this record that you’re listening to something much more thoughtful than its surface chaos might suggest. I might be imagining things, but this is where frontwoman and primary composer Jess Allanic’s background in composition seems to play a major role. The fact that Calva Louise can evoke so many different bands, sounds, and seamlessly traverse genre boundaries in seconds—from harmonized vocals over Latin folk beats to crunchy groove to house in moments (“El Umbral”)—without seeming scattered speaks to a deep understanding of music.4

You can feel that deep understanding of music in Edge of the Abyss’s most daring material: its multilingual, rhythmically tangled, and emotionally exposed core. “Lo Que Vale,” which may be my favorite song, strips things back enough to let Allanic’s small-but-commanding voice—reminiscent of Catalina García (Monsieur Periné)—to shine. “Impeccable” evokes The Kovenant’s “New World Order” before erupting into harmonized guitar leads and New Wave vibes. These are songs with giant choruses, and while Allanic has a remarkable presence and extremely deft melodic sense, she never dominates the mix. Whether screaming, speaking, or singing, her voice is expertly integrated, capable of balancing Kate Bush and Jonas Renkse depending on where she is in a song (“Hate in Me”), with harmonic sensibilities that bring me back to 3‘s The End Is Begun. Her presence does for Calva Louise what Serj Tankian did for System of a Down or Trim for King Goat. But unlike the aforementioned vocalists, she’s playing guitar, piano, and writing songs.

Edge of the Abyss is not perfect, however. First, the record’s energy flags a bit in the back half, where “The Abyss” pulls its punches and “Under the Skin” leans too hard on its mid-tempo groove. Nothing here fails, but the band’s frenetic, genre-defying dynamism seems more concentrated in the first six tracks. Still, even at its weakest, Edge of the Abyss brims with detail—piano breaks, synth arpeggios, key changes—that keep it from feeling inert. And repeated listens have only deepened my appreciation for these later tracks. If the front half is where Calva Louise erupts, the back half is where the ash is beginning to fall. Second, while there is supposedly a concept here, I have no idea what it is. In the tradition of Coheed & Cambria, who famously have a massive story but lyrics that read like “girl doesn’t like boy and boy gets mad about it,” a lot of this just reads as angst.

Some records sound big, and some records feel big. Edge of the Abyss does both.5 It feels big because it has ideas, and it succeeds because it commits to those ideas with zero regard for genre gatekeeping, scene politics, or what guys like me think is cool. It’s weird, catchy, and gleefully sophisticated, with every song bringing something unique to the table. Every arrangement counts. It’s a banger parade, and it’s hard not to feel like it’s also smart as hell. Is it perfect? No. But it’s addictive, it’s fun, and it’s going to be the most controversial Record o’ the Month since Gazpacho.

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s CBR MP3
Label: Mascot Records
Websites: calvalouise.com | calvalouise.bandcamp.com
Release Date: July 11th, 2025

#2025 #40 #CalvaLouise #CoheedAndCambria #crossover #DiabloSwingOrchestra #Dubstep #EdgeOfTheAbyss #Electronica #GrooveMetal #Jul25 #Katatonia #KateBush #KingGoat #MascotLabelGroup #MascotRecords #Metalcore #MonsieurPeriné #Muse #PopLatino #ProgressiveMetal #SystemOfADown #TheKovenant #Three #UKMetal

Calva Louise – Edge of the Abyss Review

By Angry Metal Guy

Genre is a funny thing. Calva Louise will almost certainly be called “Crossover.” Their sound is a combination of elements that, if I read each one individually, would make me cringe or shrug my shoulders. Seen grouped on the page, I might ask, “How would that even work?” What I wouldn’t expect is an album that excites me. The kind of excitement that drives one to spin the record again immediately. The kind of excitement that leads to sharing the record with anyone who will listen and lengthy discussions of the details of whether someone else noticed the Fleshgod Apocalypse piano arpeggios in track four.1 But Edge of the Abyss is a rare record that manages to feel wild, unpredictable, and yet addictive—evocative—all at once. And while it’s apparently a concept album, the real story that I’m following is the one told in the songs that add up to something greater than the sum of their parts.

The strength of Edge of the Abyss lies in its fusions, and I mean that in every sense. Calva Louise doesn’t blend styles; they smash them together. “Tunnel Vision” rips open the record with a sugar-rush hook, bouncing within three minutes from pop-chorus to dubstep drop to metallic groove. “W.T.F.” is exactly that: frenetic, agitated, and punky. “Aimless,” the album’s first single, is a real highlight, threading unpredictable melodies, classical piano runs, and crunchy metal riffage into something that feels like “Justice for Saint Marie” (Diablo Swing Orchestra) but with a dembow beat.2 Each song can be emphasized for such moments: “Hate in Me” swaps between Katatonia and Kate Bush without skipping a beat; “Under the Skin” gives Lacuna Coil while “Barely a Response” blends 3/Coheed and Cambria and Muse to create something that just vibes right—blending proggy post-punk with The Fall of Hearts.

The balancing act is accomplished by Edge of the Abyss being extremely well-composed. These songs, while poppy—slick, catchy, memorable—aren’t glued together Frankenpop. Instead, they’re meticulously assembled homunculi, each with its own little soul.3 There’s a sense throughout the first half of this record that you’re listening to something much more thoughtful than its surface chaos might suggest. I might be imagining things, but this is where frontwoman and primary composer Jess Allanic’s background in composition seems to play a major role. The fact that Calva Louise can evoke so many different bands, sounds, and seamlessly traverse genre boundaries in seconds—from harmonized vocals over Latin folk beats to crunchy groove to house in moments (“El Umbral”)—without seeming scattered speaks to a deep understanding of music.4

You can feel that deep understanding of music in Edge of the Abyss’s most daring material: its multilingual, rhythmically tangled, and emotionally exposed core. “Lo Que Vale,” which may be my favorite song, strips things back enough to let Allanic’s small-but-commanding voice—reminiscent of Catalina García (Monsieur Periné)—to shine. “Impeccable” evokes The Kovenant’s “New World Order” before erupting into harmonized guitar leads and New Wave vibes. These are songs with giant choruses, and while Allanic has a remarkable presence and extremely deft melodic sense, she never dominates the mix. Whether screaming, speaking, or singing, her voice is expertly integrated, capable of balancing Kate Bush and Jonas Renkse depending on where she is in a song (“Hate in Me”), with harmonic sensibilities that bring me back to 3‘s The End Is Begun. Her presence does for Calva Louise what Serj Tankian did for System of a Down or Trim for King Goat. But unlike the aforementioned vocalists, she’s playing guitar, piano, and writing songs.

Edge of the Abyss is not perfect, however. First, the record’s energy flags a bit in the back half, where “The Abyss” pulls its punches and “Under the Skin” leans too hard on its mid-tempo groove. Nothing here fails, but the band’s frenetic, genre-defying dynamism seems more concentrated in the first six tracks. Still, even at its weakest, Edge of the Abyss brims with detail—piano breaks, synth arpeggios, key changes—that keep it from feeling inert. And repeated listens have only deepened my appreciation for these later tracks. If the front half is where Calva Louise erupts, the back half is where the ash is beginning to fall. Second, while there is supposedly a concept here, I have no idea what it is. In the tradition of Coheed & Cambria, who famously have a massive story but lyrics that read like “girl doesn’t like boy and boy gets mad about it,” a lot of this just reads as angst.

Some records sound big, and some records feel big. Edge of the Abyss does both.5 It feels big because it has ideas, and it succeeds because it commits to those ideas with zero regard for genre gatekeeping, scene politics, or what guys like me think is cool. It’s weird, catchy, and gleefully sophisticated, with every song bringing something unique to the table. Every arrangement counts. It’s a banger parade, and it’s hard not to feel like it’s also smart as hell. Is it perfect? No. But it’s addictive, it’s fun, and it’s going to be the most controversial Record o’ the Month since Gazpacho.

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s CBR MP3
Label: Mascot Records
Websites: calvalouise.com | calvalouise.bandcamp.com
Release Date: July 11th, 2025

#2025 #40 #CalvaLouise #CoheedAndCambria #crossover #DiabloSwingOrchestra #Dubstep #EdgeOfTheAbyss #Electronica #GrooveMetal #Jul25 #Katatonia #KateBush #KingGoat #MascotLabelGroup #MascotRecords #Metalcore #MonsieurPeriné #Muse #PopLatino #ProgressiveMetal #SystemOfADown #TheKovenant #Three #UKMetal

Calva Louise – Edge of the Abyss Review

By Angry Metal Guy

Genre is a funny thing. Calva Louise will almost certainly be called “Crossover.” Their sound is a combination of elements that, if I read each one individually, would make me cringe or shrug my shoulders. Seen grouped on the page, I might ask, “How would that even work?” What I wouldn’t expect is an album that excites me. The kind of excitement that drives one to spin the record again immediately. The kind of excitement that leads to sharing the record with anyone who will listen and lengthy discussions of the details of whether someone else noticed the Fleshgod Apocalypse piano arpeggios in track four.1 But Edge of the Abyss is a rare record that manages to feel wild, unpredictable, and yet addictive—evocative—all at once. And while it’s apparently a concept album, the real story that I’m following is the one told in the songs that add up to something greater than the sum of their parts.

The strength of Edge of the Abyss lies in its fusions, and I mean that in every sense. Calva Louise doesn’t blend styles; they smash them together. “Tunnel Vision” rips open the record with a sugar-rush hook, bouncing within three minutes from pop-chorus to dubstep drop to metallic groove. “W.T.F.” is exactly that: frenetic, agitated, and punky. “Aimless,” the album’s first single, is a real highlight, threading unpredictable melodies, classical piano runs, and crunchy metal riffage into something that feels like “Justice for Saint Marie” (Diablo Swing Orchestra) but with a dembow beat.2 Each song can be emphasized for such moments: “Hate in Me” swaps between Katatonia and Kate Bush without skipping a beat; “Under the Skin” gives Lacuna Coil while “Barely a Response” blends 3/Coheed and Cambria and Muse to create something that just vibes right—blending proggy post-punk with The Fall of Hearts.

The balancing act is accomplished by Edge of the Abyss being extremely well-composed. These songs, while poppy—slick, catchy, memorable—aren’t glued together Frankenpop. Instead, they’re meticulously assembled homunculi, each with its own little soul.3 There’s a sense throughout the first half of this record that you’re listening to something much more thoughtful than its surface chaos might suggest. I might be imagining things, but this is where frontwoman and primary composer Jess Allanic’s background in composition seems to play a major role. The fact that Calva Louise can evoke so many different bands, sounds, and seamlessly traverse genre boundaries in seconds—from harmonized vocals over Latin folk beats to crunchy groove to house in moments (“El Umbral”)—without seeming scattered speaks to a deep understanding of music.4

You can feel that deep understanding of music in Edge of the Abyss’s most daring material: its multilingual, rhythmically tangled, and emotionally exposed core. “Lo Que Vale,” which may be my favorite song, strips things back enough to let Allanic’s small-but-commanding voice—reminiscent of Catalina García (Monsieur Periné)—to shine. “Impeccable” evokes The Kovenant’s “New World Order” before erupting into harmonized guitar leads and New Wave vibes. These are songs with giant choruses, and while Allanic has a remarkable presence and extremely deft melodic sense, she never dominates the mix. Whether screaming, speaking, or singing, her voice is expertly integrated, capable of balancing Kate Bush and Jonas Renkse depending on where she is in a song (“Hate in Me”), with harmonic sensibilities that bring me back to 3‘s The End Is Begun. Her presence does for Calva Louise what Serj Tankian did for System of a Down or Trim for King Goat. But unlike the aforementioned vocalists, she’s playing guitar, piano, and writing songs.

Edge of the Abyss is not perfect, however. First, the record’s energy flags a bit in the back half, where “The Abyss” pulls its punches and “Under the Skin” leans too hard on its mid-tempo groove. Nothing here fails, but the band’s frenetic, genre-defying dynamism seems more concentrated in the first six tracks. Still, even at its weakest, Edge of the Abyss brims with detail—piano breaks, synth arpeggios, key changes—that keep it from feeling inert. And repeated listens have only deepened my appreciation for these later tracks. If the front half is where Calva Louise erupts, the back half is where the ash is beginning to fall. Second, while there is supposedly a concept here, I have no idea what it is. In the tradition of Coheed & Cambria, who famously have a massive story but lyrics that read like “girl doesn’t like boy and boy gets mad about it,” a lot of this just reads as angst.

Some records sound big, and some records feel big. Edge of the Abyss does both.5 It feels big because it has ideas, and it succeeds because it commits to those ideas with zero regard for genre gatekeeping, scene politics, or what guys like me think is cool. It’s weird, catchy, and gleefully sophisticated, with every song bringing something unique to the table. Every arrangement counts. It’s a banger parade, and it’s hard not to feel like it’s also smart as hell. Is it perfect? No. But it’s addictive, it’s fun, and it’s going to be the most controversial Record o’ the Month since Gazpacho.

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s CBR MP3
Label: Mascot Records
Websites: calvalouise.com | calvalouise.bandcamp.com
Release Date: July 11th, 2025

#2025 #40 #CalvaLouise #CoheedAndCambria #crossover #DiabloSwingOrchestra #Dubstep #EdgeOfTheAbyss #Electronica #GrooveMetal #Jul25 #Katatonia #KateBush #KingGoat #MascotLabelGroup #MascotRecords #Metalcore #MonsieurPeriné #Muse #PopLatino #ProgressiveMetal #SystemOfADown #TheKovenant #Three #UKMetal

Calva Louise – Edge of the Abyss Review

By Angry Metal Guy

Genre is a funny thing. Calva Louise will almost certainly be called “Crossover.” Their sound is a combination of elements that, if I read each one individually, would make me cringe or shrug my shoulders. Seen grouped on the page, I might ask, “How would that even work?” What I wouldn’t expect is an album that excites me. The kind of excitement that drives one to spin the record again immediately. The kind of excitement that leads to sharing the record with anyone who will listen and lengthy discussions of the details of whether someone else noticed the Fleshgod Apocalypse piano arpeggios in track four.1 But Edge of the Abyss is a rare record that manages to feel wild, unpredictable, and yet addictive—evocative—all at once. And while it’s apparently a concept album, the real story that I’m following is the one told in the songs that add up to something greater than the sum of their parts.

The strength of Edge of the Abyss lies in its fusions, and I mean that in every sense. Calva Louise doesn’t blend styles; they smash them together. “Tunnel Vision” rips open the record with a sugar-rush hook, bouncing within three minutes from pop-chorus to dubstep drop to metallic groove. “W.T.F.” is exactly that: frenetic, agitated, and punky. “Aimless,” the album’s first single, is a real highlight, threading unpredictable melodies, classical piano runs, and crunchy metal riffage into something that feels like “Justice for Saint Marie” (Diablo Swing Orchestra) but with a dembow beat.2 Each song can be emphasized for such moments: “Hate in Me” swaps between Katatonia and Kate Bush without skipping a beat; “Under the Skin” gives Lacuna Coil while “Barely a Response” blends 3/Coheed and Cambria and Muse to create something that just vibes right—blending proggy post-punk with The Fall of Hearts.

The balancing act is accomplished by Edge of the Abyss being extremely well-composed. These songs, while poppy—slick, catchy, memorable—aren’t glued together Frankenpop. Instead, they’re meticulously assembled homunculi, each with its own little soul.3 There’s a sense throughout the first half of this record that you’re listening to something much more thoughtful than its surface chaos might suggest. I might be imagining things, but this is where frontwoman and primary composer Jess Allanic’s background in composition seems to play a major role. The fact that Calva Louise can evoke so many different bands, sounds, and seamlessly traverse genre boundaries in seconds—from harmonized vocals over Latin folk beats to crunchy groove to house in moments (“El Umbral”)—without seeming scattered speaks to a deep understanding of music.4

You can feel that deep understanding of music in Edge of the Abyss’s most daring material: its multilingual, rhythmically tangled, and emotionally exposed core. “Lo Que Vale,” which may be my favorite song, strips things back enough to let Allanic’s small-but-commanding voice—reminiscent of Catalina García (Monsieur Periné)—to shine. “Impeccable” evokes The Kovenant’s “New World Order” before erupting into harmonized guitar leads and New Wave vibes. These are songs with giant choruses, and while Allanic has a remarkable presence and extremely deft melodic sense, she never dominates the mix. Whether screaming, speaking, or singing, her voice is expertly integrated, capable of balancing Kate Bush and Jonas Renkse depending on where she is in a song (“Hate in Me”), with harmonic sensibilities that bring me back to 3‘s The End Is Begun. Her presence does for Calva Louise what Serj Tankian did for System of a Down or Trim for King Goat. But unlike the aforementioned vocalists, she’s playing guitar, piano, and writing songs.

Edge of the Abyss is not perfect, however. First, the record’s energy flags a bit in the back half, where “The Abyss” pulls its punches and “Under the Skin” leans too hard on its mid-tempo groove. Nothing here fails, but the band’s frenetic, genre-defying dynamism seems more concentrated in the first six tracks. Still, even at its weakest, Edge of the Abyss brims with detail—piano breaks, synth arpeggios, key changes—that keep it from feeling inert. And repeated listens have only deepened my appreciation for these later tracks. If the front half is where Calva Louise erupts, the back half is where the ash is beginning to fall. Second, while there is supposedly a concept here, I have no idea what it is. In the tradition of Coheed & Cambria, who famously have a massive story but lyrics that read like “girl doesn’t like boy and boy gets mad about it,” a lot of this just reads as angst.

Some records sound big, and some records feel big. Edge of the Abyss does both.5 It feels big because it has ideas, and it succeeds because it commits to those ideas with zero regard for genre gatekeeping, scene politics, or what guys like me think is cool. It’s weird, catchy, and gleefully sophisticated, with every song bringing something unique to the table. Every arrangement counts. It’s a banger parade, and it’s hard not to feel like it’s also smart as hell. Is it perfect? No. But it’s addictive, it’s fun, and it’s going to be the most controversial Record o’ the Month since Gazpacho.

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s CBR MP3
Label: Mascot Records
Websites: calvalouise.com | calvalouise.bandcamp.com
Release Date: July 11th, 2025

#2025 #40 #CalvaLouise #CoheedAndCambria #crossover #DiabloSwingOrchestra #Dubstep #EdgeOfTheAbyss #Electronica #GrooveMetal #Jul25 #Katatonia #KateBush #KingGoat #MascotLabelGroup #MascotRecords #Metalcore #MonsieurPeriné #Muse #PopLatino #ProgressiveMetal #SystemOfADown #TheKovenant #Three #UKMetal

Calva Louise – Edge of the Abyss Review

By Angry Metal Guy

Genre is a funny thing. Calva Louise will almost certainly be called “Crossover.” Their sound is a combination of elements that, if I read each one individually, would make me cringe or shrug my shoulders. Seen grouped on the page, I might ask, “How would that even work?” What I wouldn’t expect is an album that excites me. The kind of excitement that drives one to spin the record again immediately. The kind of excitement that leads to sharing the record with anyone who will listen and lengthy discussions of the details of whether someone else noticed the Fleshgod Apocalypse piano arpeggios in track four.1 But Edge of the Abyss is a rare record that manages to feel wild, unpredictable, and yet addictive—evocative—all at once. And while it’s apparently a concept album, the real story that I’m following is the one told in the songs that add up to something greater than the sum of their parts.

The strength of Edge of the Abyss lies in its fusions, and I mean that in every sense. Calva Louise doesn’t blend styles; they smash them together. “Tunnel Vision” rips open the record with a sugar-rush hook, bouncing within three minutes from pop-chorus to dubstep drop to metallic groove. “W.T.F.” is exactly that: frenetic, agitated, and punky. “Aimless,” the album’s first single, is a real highlight, threading unpredictable melodies, classical piano runs, and crunchy metal riffage into something that feels like “Justice for Saint Marie” (Diablo Swing Orchestra) but with a dembow beat.2 Each song can be emphasized for such moments: “Hate in Me” swaps between Katatonia and Kate Bush without skipping a beat; “Under the Skin” gives Lacuna Coil while “Barely a Response” blends 3/Coheed and Cambria and Muse to create something that just vibes right—blending proggy post-punk with The Fall of Hearts.

The balancing act is accomplished by Edge of the Abyss being extremely well-composed. These songs, while poppy—slick, catchy, memorable—aren’t glued together Frankenpop. Instead, they’re meticulously assembled homunculi, each with its own little soul.3 There’s a sense throughout the first half of this record that you’re listening to something much more thoughtful than its surface chaos might suggest. I might be imagining things, but this is where frontwoman and primary composer Jess Allanic’s background in composition seems to play a major role. The fact that Calva Louise can evoke so many different bands, sounds, and seamlessly traverse genre boundaries in seconds—from harmonized vocals over Latin folk beats to crunchy groove to house in moments (“El Umbral”)—without seeming scattered speaks to a deep understanding of music.4

You can feel that deep understanding of music in Edge of the Abyss’s most daring material: its multilingual, rhythmically tangled, and emotionally exposed core. “Lo Que Vale,” which may be my favorite song, strips things back enough to let Allanic’s small-but-commanding voice—reminiscent of Catalina García (Monsieur Periné)—to shine. “Impeccable” evokes The Kovenant’s “New World Order” before erupting into harmonized guitar leads and New Wave vibes. These are songs with giant choruses, and while Allanic has a remarkable presence and extremely deft melodic sense, she never dominates the mix. Whether screaming, speaking, or singing, her voice is expertly integrated, capable of balancing Kate Bush and Jonas Renkse depending on where she is in a song (“Hate in Me”), with harmonic sensibilities that bring me back to 3‘s The End Is Begun. Her presence does for Calva Louise what Serj Tankian did for System of a Down or Trim for King Goat. But unlike the aforementioned vocalists, she’s playing guitar, piano, and writing songs.

Edge of the Abyss is not perfect, however. First, the record’s energy flags a bit in the back half, where “The Abyss” pulls its punches and “Under the Skin” leans too hard on its mid-tempo groove. Nothing here fails, but the band’s frenetic, genre-defying dynamism seems more concentrated in the first six tracks. Still, even at its weakest, Edge of the Abyss brims with detail—piano breaks, synth arpeggios, key changes—that keep it from feeling inert. And repeated listens have only deepened my appreciation for these later tracks. If the front half is where Calva Louise erupts, the back half is where the ash is beginning to fall. Second, while there is supposedly a concept here, I have no idea what it is. In the tradition of Coheed & Cambria, who famously have a massive story but lyrics that read like “girl doesn’t like boy and boy gets mad about it,” a lot of this just reads as angst.

Some records sound big, and some records feel big. Edge of the Abyss does both.5 It feels big because it has ideas, and it succeeds because it commits to those ideas with zero regard for genre gatekeeping, scene politics, or what guys like me think is cool. It’s weird, catchy, and gleefully sophisticated, with every song bringing something unique to the table. Every arrangement counts. It’s a banger parade, and it’s hard not to feel like it’s also smart as hell. Is it perfect? No. But it’s addictive, it’s fun, and it’s going to be the most controversial Record o’ the Month since Gazpacho.

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s CBR MP3
Label: Mascot Records
Websites: calvalouise.com | calvalouise.bandcamp.com
Release Date: July 11th, 2025

#2025 #40 #CalvaLouise #CoheedAndCambria #crossover #DiabloSwingOrchestra #Dubstep #EdgeOfTheAbyss #Electronica #GrooveMetal #Jul25 #Katatonia #KateBush #KingGoat #MascotLabelGroup #MascotRecords #Metalcore #MonsieurPeriné #Muse #PopLatino #ProgressiveMetal #SystemOfADown #TheKovenant #Three #UKMetal

That "new" Coheed and Cambria album is so good. Someone who can by Coheed and Cambria
#coheedandcambria #tunetuesday

https://youtu.be/mld4KuTNg0M?si=BbG8aKxff5wsuAN3

https://www.youtube.com/watch?v=n0H3RlaQVrM

Pues empezamos la lista de #NFSRivalsConduccion con un clásico de Coheed y Cambria: Welcome Home. Ideal para iniciar una sesión de carreras :P

#NFSRivalsMapacheEdition #CoheedAndCambria #WelcomeHome

New post: Coheed and Cambria announce some dates in England and Wales https://www.moshville.co.uk/news/tours/2025/06/coheed-and-cambria-announce-some-dates-in-england-and-wales/ #CoheedAndCambria

https://www.wacoca.com/media/324198/ COHEED AND CAMBRIA、アルバム『The Afterman: Ascension』より「Domino The Destitute」MV再公開！ #COHEEDANDCAMBRIA #music #コヒード #コヒード・アンド・カンブリア #コヒードアンドカンブリア #音楽

I indicated this last month, but more JPop has been on my offline listening, so we've seen some of that rising in the numbers.

Also, Young Posse's "Cold" which dropped in March, is sitting at 13th most listened to for me for the year. Why did that one hit me so hard?

Next month may be different as new stuff came in toward the middle / end of March that mixed up my list. Also, Neth Priere Cain tracks have been rising.

Also, year to date - most listened to artist? NMIXX. Most listened to album? Coheed and Cambria's "The Father of Make Believe," which dropped in March.

We'll see what April brings!

#MDMRNMostListened #Music #JPop #CoheedAndCambria #NMixx #KPop

is listening to #CoheedAndCambria - The Continuum IV: So It Goes

(this song has been stuck in my head the whole day)

https://song.link/i/1776734859

This morning, I awoke to the chorus of Coheed and Cambria's Ten Speed (Of God's Blood and Burial) in my head. https://song.link/us/i/307654874

So yea, that was this morning's mental wake up music.

#AMSongInMyHead #Music #CoheedAndCambria #Coheed #GoodApollo

A new Coheed and Cambria album dropped this past Friday too. "The Father of Make Believe." https://album.link/us/i/1776734584

Been listening to it during my commute.

It's very good, very Coheed. So far, it's reminding me of the Good Apollo era, which was when I first got into them.

#NewMusic #CoheedAndCambria #Music #ProgRock #CobaltAndCalcium #Coheed #TheFatherOfMakeBelieve

#CoheedAndCambria

#VaxisIII #TheFatherOfMakeBelieve
#EvilInkRecords 2025

Difícil contener la emoción ante este nuevo disco, repleto de bellísima música, y de palabras que llegan directo al alma.

https://store.coheedandcambria.com/collections/music/products/vaxis-iii-the-father-of-make-believe-2lp

#música #rock #progrock #cienciaficción #cómics #novelagráfica #vinilo #EstadosUnidos

It is Tune Tuesday again and the theme today is "Winging It" - songs or albums about wings.

I'm picking Coheed and Cambria's "The Crowning." https://song.link/us/i/365400694

Not as apparently obvious of a choice, but the song is about an angelic being named Ambellina who burns off her wings to become more human. I think that still fits.

#TuneTuesday #Music #WingingIt #MusicOfMastodon #CoheedAndCambria #CobaltAndCalcium #ProgRock

#review
L.S. Dunes 🇺🇲 Violet
(31.01.25)

"Album number two sounds overall softer, more harmonious, more gentle and more accessible than its predecessor. The entire album is bursting with wonderful harmonies and rousing melodies."
11/15 Points

#musicreview #lsdunes #posthardcore #indie #artrock #postrock #hardcore #progressive #prog #betreutesproggen #coheedandcambria #thursday #circasurvive #mychemicalromamce

➡️ Full Review:
https://www.betreutesproggen.de/2025/01/l-s-dunes-violet/

#review
L.S. Dunes 🇺🇲 Violet
(31.01.25)

"Album number two sounds overall softer, more harmonious, more gentle and more accessible than its predecessor. The entire album is bursting with wonderful harmonies and rousing melodies."
11/15 Points

#musicreview #lsdunes #posthardcore #indie #artrock #postrock #hardcore #progressive #prog #betreutesproggen #coheedandcambria #thursday #circasurvive #mychemicalromamce

➡️ Full Review:
https://www.betreutesproggen.de/2025/01/l-s-dunes-violet/

#review
L.S. Dunes 🇺🇲 Violet
(31.01.25)

"Album number two sounds overall softer, more harmonious, more gentle and more accessible than its predecessor. The entire album is bursting with wonderful harmonies and rousing melodies."
11/15 Points

#musicreview #lsdunes #posthardcore #indie #artrock #postrock #hardcore #progressive #prog #betreutesproggen #coheedandcambria #thursday #circasurvive #mychemicalromamce

➡️ Full Review:
https://www.betreutesproggen.de/2025/01/l-s-dunes-violet/

#review
L.S.Dunes 🇺🇲 Violet
(31.01.25)

"Album number two sounds overall softer, more harmonious, more gentle and more accessible than its predecessor. The entire album is bursting with wonderful harmonies and rousing melodies."
11/15 Points

#musicreview #lsdunes #posthardcore #indie #artrock #postrock #hardcore #progressive #prog #betreutesproggen #coheedandcambria #thursday #circasurvive #mychemicalromamce
@lsdunes @frankieromustdie @fantasyrecords

➡️ Full Review:
https://www.betreutesproggen.de/2025/01/l-s-dunes-violet/

To start off 2025, we have a Thursday Five List theme of "The Intro" - First tracks off albums.

Let's see what I can do.

Coheed and Cambria - The Reaping https://song.link/us/i/266363143

Itzy - Born to Be https://song.link/us/i/1718647233

Billy Joel - Movin' Out (Anthony's Song) https://song.link/us/i/158617967

My Chemical Romance - The End. https://song.link/us/i/209388312

The Ramones - Blitzkrieg Bop https://song.link/us/i/312355531

#Music #ThursdayFiveList #TheIntro #MCR #MyChemicalRomance #Itzy #TheRamones #CoheedAndCambria #BillyJoel

Coheed and Cambria and Mastodon announce spring 2025 Tour with Periphery:

#CoheedAndCambria #Mastodon #Periphery #Tour #TourAlert

https://metalinsider.net/metal-on-metal/coheed-and-cambria-and-mastodon-announce-spring-2025-tour-with-periphery

New Coheed and Cambria is incoming!

New album dropping in March.

Check out their new track "Searching for Tomorrow." https://song.link/us/i/1776734593

It has big "Good Apollo, I'm Burning Star IV" vibes, which I loved.

#NewMusic #CoheedAndCambria #ProgRock #TheFatherOfMakeBelieve

Have you ever heard a song and been like, "I love this song, but now I can't stop imagining it being covered by this other band whose vibe it matches so well."

That is how I felt listening to Tiffany Blews by Fall Out Boy https://song.link/us/i/1445881940

It is a fantastic song, but I cannot help but imagine Coheed and Cambria covering it. It would be amazing.

How about you? Have you ever thought of that before? If you have, ping me and use the hashtag #CoverSongWishes.

#Music #FallOutBoy #HashtagGames #CoheedAndCambria #CoverMusic #CoverSongs

So, @Kitty's Tune Tuesday this week has a theme from @satsuma of "Thanks For The Memories" - songs that remind you of specific moments in time.

As I try to avoid using songs with that literal name, I've got two songs that instantly transport me back in different ways.

Cake - The Distance https://song.link/us/i/254347756
This song reminds me of high school cross country. We sang this a lot, despite how the actual song isn't about long distance running.

Coheed and Cambria - Wake Up (Acoustic) https://song.link/us/i/209629051
This one was one which I sang to my children (modified slightly) as a lullaby when they were infants. It still brings back memories of each of them as babies.

#Music #TuneTuesday #ThanksForTheMemories #Cake #CoheedAndCambria #Parenting #Life #Nostalgia #CobaltAndCalcium #AltRock

Looks like Coheed and Cambia redid a song, "Deranged," they originally did for the companion album for the game Batman: Arkham City.

Check it out on your favorite streaming service here: https://coheedandcambria.lnk.to/thejoke

Or watch the new video using clips from Victor Hugo's "The Man Who Laughs" (1928). https://www.youtube.com/watch?v=9vHyfa5FU0w

#Music #CoheedAndCambria #CobaltAndCalcium #RockMusic #ProgRock #Progressive #ProgressiveRock #Coheed #Batman #BatmanArkham #BatmanArkhamCity #VideoGames

#TheMetalDogArticleList
#BraveWords
COHEED AND CAMBRIA Release “Ladders Of Supremacy” Animated Video
Coheed And Cambria have launched their music video for the song “Ladders Of Supremacy". The song is a progressive powerhouse and fan favourite from the band’s most recent album, Vaxis - Act II: A Window of the Waking Mind. The video is directed by...

https://bravewords.com/news/coheed-and-cambria-release-ladders-of-supremacy-animated-video

#CoheedAndCambria #LaddersOfSupremacy #NewVideo #Rise #SeizeTheCrown #Animations #Storytelling #Compelling #RockMusic

#TheMetalDogArticleList
#BraveWords
COHEED AND CAMBRIA Release “Ladders Of Supremacy” Animated Video
Coheed And Cambria have launched their music video for the song “Ladders Of Supremacy". The song is a progressive powerhouse and fan favourite from the band’s most recent album, Vaxis - Act II: A Window of the Waking Mind. The video is directed by...

https://bravewords.com/news/coheed-and-cambria-release-ladders-of-supremacy-animated-video

#CoheedAndCambria #LaddersOfSupremacy #NewVideo #Rise #SeizeTheCrown #Animations #Storytelling #Compelling #RockMusic

#TheMetalDogArticleList
#BraveWords
COHEED AND CAMBRIA Release “Ladders Of Supremacy” Animated Video
Coheed And Cambria have launched their music video for the song “Ladders Of Supremacy". The song is a progressive powerhouse and fan favourite from the band’s most recent album, Vaxis - Act II: A Window of the Waking Mind. The video is directed by...

https://bravewords.com/news/coheed-and-cambria-release-ladders-of-supremacy-animated-video

#CoheedAndCambria #LaddersOfSupremacy #NewVideo #Rise #SeizeTheCrown #Animations #Storytelling #Compelling #RockMusic

#TheMetalDogArticleList
#BraveWords
COHEED AND CAMBRIA Release “Ladders Of Supremacy” Animated Video
Coheed And Cambria have launched their music video for the song “Ladders Of Supremacy". The song is a progressive powerhouse and fan favourite from the band’s most recent album, Vaxis - Act II: A Window of the Waking Mind. The video is directed by...

https://bravewords.com/news/coheed-and-cambria-release-ladders-of-supremacy-animated-video

#CoheedAndCambria #LaddersOfSupremacy #NewVideo #Rise #SeizeTheCrown #Animations #Storytelling #Compelling #RockMusic

#TheMetalDogArticleList
#BraveWords
COHEED AND CAMBRIA Release “Ladders Of Supremacy” Animated Video
Coheed And Cambria have launched their music video for the song “Ladders Of Supremacy". The song is a progressive powerhouse and fan favourite from the band’s most recent album, Vaxis - Act II: A Window of the Waking Mind. The video is directed by...

https://bravewords.com/news/coheed-and-cambria-release-ladders-of-supremacy-animated-video

#CoheedAndCambria #LaddersOfSupremacy #NewVideo #Rise #SeizeTheCrown #Animations #Storytelling #Compelling #RockMusic

Ok, let’s get some bands going on a hashtag here and see if I can pick up some more #metal followers; #InFlames #LambOfGod #ArchEnemy #SleepToken #BuryTomorrow #Godsmack #ZealandAdor #Gojira #DevinTownsend #BobVylan #AmigoTheDevil #CoheedandCambria #OfVirtue #MillieMandersAndTheShutUp #ParkwayDrive #AliceInChains just to name a few…

Hey, I'm not great at it but here's an attempt at an #introduction.

I learned about Mastodon through an #indiedev on another site. Thought decentralized social media was a great idea and signed up.

I have some current interests, such as:

The #LastHouseontheLeft #Podcast, #CoheedandCambria, #StardewValley, #PuppetCombo games, and finding my next favorite #IndieGame.

If you like any of these things, or hell, just want to share some of yours, let me hear it!

Their most recent album is probably my least favorite album because half of it is pretty synth heavy, and I really hate the sound of synth. They mostly played the guitar heavy songs from the album, but they played one of the synth songs and I must say, seeing Claudio behind a synth was a massive bummer hahaha
All of my favorite rock bands are going through a synth phase and it’s really disappointing
#Coheed #CoheedAndCambria #TheFence