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on 18 May 2015
As usual with Coheed and Cambria you get a mix of Prog and Metal with again great vocals from Claudio Sanchez. This album also feature drums provided by Mr Taylor Hawkins (of the Foo Fighters) stepping in after Chris Pennie could not perform on the album due to contractual issues. It also contains the single "The Running Free". An all round great album from the boys.
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on 12 June 2016
Exactly what was wanted.
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on 2 July 2013
This was a gift and the and the receiver was delighted with it. I as the purchaser was equally delighted with all aspects of this purchase and would happily recommend this seller.
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on 15 January 2014
Been a fan of Coheed for a couple of years now. This was the next album to add to my collection and it doesn't disappoint.
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on 13 November 2014
Good record, nice riffs and songs
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on 26 October 2007
This album is the finale to a futuristic and complex story of love,hate,murder,deceipt and everything in between. The music is best described as unique. I know of no other band who come close to the sounds created by C&C. They are technically one of, if not THE, best bands around. Fantastic guitar and strings, catchy choruses, baffling lyrics and a unique singing style make this a definate for any serious music lover.It does take a couple of listens before you get the message but once you do you will be bowled over.Standouts for me are 'The Running Free', 'No World For Tomorrow''On the Brink' and 'Mother Superior'One of the albums of the year. I cant stop listening to it!
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TOP 1000 REVIEWERon 20 October 2007
Coheed And Cambria's fourth Studio album No World For Tomorrow is a real corker; a well written and wonderfully produced record that picks up right where the previous Burning Star IV record left off.

This album contains just the right mixture of shimmering David Gilmore influenced leads, metal influenced breakdowns and catchy sing along vocal hooks that'll stick in your head for days on end.

The main problem that the band have is getting people to give them a fair listen in the first place. Some fans will always have a problem categorising this band and end up dismissing them no matter what. Coheed were never as progressive as the Mars Volta, never as metal as Dream Theatre and too progressive and metal influenced to be just a regular indie/alt/emo band.

Regardless of what genre the album may be, or who the band do or don't sound like, this album when taken on its own merits is undeniably good; full of great lyrics, excellent vocal melodies and a sense of cohesion that many bands lack.

The only negative thing that I can say about this album is that occasionally the production and tonal choices can make certain sections of the more commercial songs like 'Feathers,' 'Running Free,' or 'Mother Superior,' at times seem too saccharine, too slick and a little overblown. This is a very minor flaw however, and doesn't apply to the majority of the album, or when material from the album is performed live.

Stand out songs include the brilliant single 'Gravemakers And Gunslingers,' which is possibly the most fun Coheed song to date, the catchy fast paced 'The Hound Of Blood And Rank,' and 'The End Complete,' which is quite frankly staggering.

At the end of the day, this album boasts some of the best guitar work that the band ever recorded, mixing both melodic and hectic solos with powerful riffing and a few soft ballads to create an powerful and enjoyable album. If you liked their previous album From Fear Through The Eyes Of Madness; or as it is commonly known, Good Apollo (part one of a set in which No World For Tomorrow is part two), you'll love this.

PS. Some editions contains a short Making Of Documentary; which features interviews with the band, mixed with in studio footage and discusses topics such as the writing process, the band's story concept and new drummer Chris Pennie's visa troubles. Its not the most in depth documentary, but is enjoyable none the less.
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on 6 November 2007
Well if I'm honest I was under-whelmed on first listen but a couple of listens in it just grows and grows as you get to grips with the songs hooks and structures.

The second track has what seems to be the most preposterous of riffs meandering all over the place.....makes Muse's `Plug in Baby' seem a little straightforward. The riff almost seems a bit too much at first but the overall melody takes over and gives the song cohesion.

The album then sails past.....which must be a good sign. Whilst I thought the last album was good, it seemed to lose it's way a little bit in the middle. Not that the individual songs were poor but it was a long album and the songs were perhaps a little less individual. No World For Tomorrow seems to have made a conscious effort to rectify that.

The suggestion is that it's more commercial but if you look at all the previous albums they all have those moments. Perhaps the new album has a couple more, but certainly not to it's detriment. I don't see the crowds switching off and going for a beer during A Favour House Atlantic, Blood Red Summer, The Suffering etc, so why should they for the new supposed 'commercial' material.

The only quibble is where is the big crescendo ending? But maybe I'll understand that more with a few more listens. Perhaps it all goes full circle and the big ending comes at the end of the first album in the series......which comes next.....in some sort of never ending circular nightmare. Who knows, I'm not too sure I've worked out what happens in the story yet. Oh well, better listen to them all again.
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VINE VOICEon 29 November 2007
This is the fourth album in this stupendously ambitious (and brilliant) series, and though it's a long way from being the best, it's still Coheed and Cambria (despite the slightly altered line-up) and still a clear mile above almost everything else going. I love that each of these albums has its own unique and distinctive sound, despite the fact that each is a chapter in the same story. That said, the creative well is showing early signs that it may at last be running dry. The album does have an occasional tendency to fall into familiar patterns at times, and many of the tracks are sadly quite forgettable - you won't find another Time Consumer, or the wall-to-wall perfection of In Keeping Secrets of Silent Earth 3, or even the uncomfortable angst and complex structure of the most recent album. What you will find instead are a handful of excellent, hummable tracks - highlights include Feathers, Mother Superior and of course The Running Free (which was actually written for the new Transformers movie, though sadly it didn't make the cut). The high points of this album are definitely up there with the past glories, and definitely offer something new and distinctive - it's just that everything else is a little bland and over-familiar at this point. That's not to say it's bad by any stretch - it's Coheed and Cambria after all and this band doesn't really do `bad'. It's just that each of their albums inevitably has to be measured against the impossibly high standards of the previous ones, and this one is not quite up there.
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on 25 October 2007
This is the second half of the fourth and final part of C&C's mammoth space-prog-rock epic, which is meant to be the last section of the story with the first being released some time in the future. Confused? You should be.

Trying to make sense of the complex story aside, this continues much in the same way as its predecessors, though is somewhat lacking in the 'epic' stakes. There isn't really a towering, monolithic track on this record that stands out in the same way that "In Keeping Secrets" or "Welcome Home" do on previous albums. However, it isn't without its fair share of good tunes. "Feathers" sounds reminiscent of Bon Jovi/Bryan Adams melodic rock, "Gravemakers and Gunslingers" kicks as much behind as its uber-cool name suggests and is quite possibly the best song Iron Maiden never wrote. The first single, "The Running Free" is a bit simplistic, but "Mother Superior" returns to the melodic Bon Jovi-esque power ballad.

Overall, this is a worthy collection to the Coheed and Cambria canon, although as a supposed climax to the overarching story it is somewhat subdued - in many ways its predecessor sounds more like a closing act. I'd give it 3 and a half stars if I could, so I've rounded it up to four. It is still well worth a listen, though it does seem to be missing its battle-cry...
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