The music, like the concept, is a distinct throwback to the bombast of the '70s arena-prog titans that once plentifully populated the earth. Thoughtful acoustic passages give way to epic, soaring choruses, with arena-filling guitars and washes of keys swelling over the whole mix. Songs like "The Hound (of Blood and Rank)" and "Feathers" blend the theatrics of prog-metal with the more pedestrian drama of emo standard-bearers like Fall Out Boy and Jimmy Eat World, while slower ballads like "Mother Superior" revisit the pastoral Tolkienism of Led Zeppelin. For fans that have been following the band's epic story, it's the equivalent of another STAR WARS movie, but there's plenty for plain old rock fans to enjoy as well.

With guitar bombast and shrill vocals, No World for Tomorrow concludes Coheed and Cambria's long-running prog-opera about family, homicide, and the apocalypse. There's enough genuine melody here to attract newcomers, but tuning in to Coheed's sci-narrative during its final installment (Tomorrow is the finale of a multi-chaptered story) is similar to watching Return of the Jedi without seeing any of the preceding Star Wars flicks -- there's still fun to be had, but one can't help but feel a tad uninformed. Accordingly, the album is simple ear candy for those who haven't studied the band's previous releases, and sweet resolution for those who can spot the references to older songs (specifically "Blood Red Summer") and former riffs ("The Crowing"). Claudio Sanchez continues to steer his bandmates through progressive rock territory, using Queensrÿche's Operation: Mindcrime and Rush's conceptual catalog to help light the way. Like the singer's shockingly huge mound of hair, Sanchez's vocals are campy, ludicrous, but nevertheless appealing, with high notes and vibrato-heavy lines drawing the usual comparisons to Geddy Lee. Still, the whole package may be difficult to stomach for some listeners. This is full-blown rock influenced by Tolkien novels, Marvel comics, and the Sci-Fi Channel; those who don't prefer their music with a side of Dungeons and Dragons should turn away at the first burst of synthesized thunder. But listeners who venture onward will find a number of enjoyable would-be singles: "Feathers," "Running Free," and "The End Complete IV: The Road and the Damned" (quite possibly the most high-brow power ballad this side of "Silent Lucidity"). ~ Andrew Leahey