YMMV / Coheed and Cambria

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• Broken Base: Year of the Black Rainbow, musically and both lyrically/story wise, is either one of Coheed's best albums, or one of their worst. The elitist fan base on Cobalt And Calcium doesn't help matters,
  • The band themselves aren't big fans of it either and admit that much of the album's writing and recording was rushed because they were dangerously close to a deadline. This is evident in that "When Skeletons Live" is actually demo thrown on the album because they didn't have time to polish it and re-record it. The irony is, even people who dislike the album find that to be one of the few good songs on it, but probably for that very reason, due to how dissonant it's sound is to the rest of the album.
  • No World for Tomorrow is a bit of one as well. Most contention seem to come from either the production, the lack of Josh Eppard, or the somewhat rushed songwriting.
  • The Color Before the Sun was initially considered by some to be a disappointment for being a non-concept album that moved away from The Amory Wars, but over time the album has become accepted and beloved for that reason.
  • Whether the original 2002 release of The Second Stage Turbine Blade or the 2005 re-release is better. Fans who prefer the 2005 version cite the better production, its overall sound being more likened to the following two albums, the re-recorded parts and some bits being buried in the mix in the original version being brought forward make for a more complete experience. The other side of the debate, however, argues that the original mix's terrible production was one of the best aspects as it made the album more atmospheric, that the constantly double-tracked vocals made the songs more eerie and unsettling (especially "Everything Evil" and "Delirium Trigger", which are both about extremely uncomfortable subjects), and that the added sound effects made it just cheesy, and particularly bringing up the decision to plaster the infamous creepy piano melody at the end of "God Speed Conspirator" that is used to denote a passage of time at the end of "Everything Evil" as one of the more questionable decisions. That the 2005 version is the only commercially available version, and the 2002 version is extremely difficult to find even through piracy hasn't lessened the debate.
• Epic Riff: "Welcome Home."
• Ensemble Dark Horse: Nearly every top comment on any Coheed and Cambria Youtube video will be about Claudio's hair.
• Heartwarming Moments: "2's My Favorite 1." I embrace your defects.
  • "Atlas", the song Claudio wrote for his son.
• Listener Gender Confusion: Claudio's androgynous singing voice tends to throw off a lot of first-time listers, who assume that the band is fronted by a woman until they actually see it coming out of a very hairy, masculine man. Special mention goes to the first verse of "21:13", which many listeners initially assumed was done by a female guest vocalist. Nope, just Claudio without any effects on his voice whatsoever!
  • This has become less common with Vaxis Act I: The Unheavenly Creatures as age has led to Claudio's voice generally sticking to a lower pitch than his peak, albeit still significantly higher than many other male rock singers.
• Lyrical Dissonance: "Wake Up": "I'll do anything for you, kill anyone for you..."
  • "Number City" is a danceable ska-influenced song about Sirius' wife dying in a car crash.
  • "Three Evils" has Claudio cheerily sing the following, set to the happiest notes of the song: “Pull the trigger and the nightmare stops!”(Repeat)
• Narm: The Word Salad Lyrics can't be taken seriously every moment.
  • Also because it's easy to mishear the lyrics, even causing mild Memetic Mutation in the fandom with some common or hilarious ones (Most famously "Barking Apple of Doom" in Welcome Home and "Should the Iron Negro Hungry" in In Keeping Secrets of Silent Earth: 3).
  • More Mondegreen narm comes from "Three Evils", whose opening line sounds an awful lot like “Across floor in the hangar where we drove that Jew”
  • There's also the fact that the Writing Writer is being told to kill off characters by a talking bicycle.
• Refrain from Assuming: "A Favor House Atlantic" is not actually called "Good Eye Sniper", OR "Bye Bye Beautiful".
• Signature Song: "Welcome Home" without a doubt. To a lesser extent, "Blood Red Summer", "The Suffering" and "A Favor House Atlantic".
• Suspiciously Similar Song
  • The main riff for "Welcome Home" has often been compared to "Kashmir" by Led Zeppelin.
  • Similarly, the beginning of "A Favor House Atlantic" sounds like the the beginning of "Truth Hits Everybody" by The Police (same key, same chord, same drum pattern).
• Tear Jerker: Many:
  • The song "Time Consumer", when you realize it's about two parents being forced to kill their children.
  • During Coheed and Cambria's rampage throughout the ship Gloria vel Vessa, they encounter numerous soldiers who plead for their lives, mentioning that they have families and kids to take care of. Considering what General Mayo Deftinwulf forced Coh and Cam to do, this is not a good idea.
  • The dialogue between Sirius Amory and The Allmother at the end of "The Dark Side of Me" Allmother: "I am not capable of comprehending human rationale. Sirius, is this what love is?" (Dramatic Pause) Sirius: "Yes."
  • The climax of the song "Gravity's Union" is extraordinarily heartbreaking. Sirius believes that the doctors chose to save him and not his pregnant wife (Therefore "Let the wrong one in")
• Win Back the Crowd: Even though The Afterman: Ascension had people who disliked it for similar reasons as YOBR, it sort of managed to win back some of the fans- for one, the band were back to writing eight-minute epics, and Josh Eppard was back.
  • For the fans who were disheartened that The Color Before The Sun moved away from the fictional universe of The Amory Wars, "The Dark Sentencer" (the first single for the upcoming album Unheavenly Creatures) was seen as a triumphant return.

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