Story
The album introduces the husband and wife characters Coheed and Cambria, the characters from whence the band's name originates.
Man and wife Coheed and Cambria are used as the centerpiece to enable Supreme Tri-Mage Wilhelm Ryan's attempt at destroying his archrival Mage, Mariah Antillarea. Due to a memory swiping years ago, the couple are led to believe that their former lives have now come back to haunt them. They’re told by General Mayo Deftinwolf (Ryan's Right hand) that they were long ago implanted with a great threat to Heaven’s Fence, The Monstar Virus. A virus with the ability to turn its host (Coheed) into a being powerful enough to drain the Keywork's energy sources to spark Armageddon, while their dear old counterpart, Inferno was given the only means to unlock it. Through more lies, they are led to believe their children have genetically acquired a mutated form of the virus, the Sinstar. This new strain only requires its host to mature to a certain age, and has no antidote unlike the Monstar. Their children cannot be saved and time will not side with them. Coheed and Cambria are faced with an unimaginable dilemma: to murder their own children or face Armageddon.
This album is one of two Coheed and Cambria albums (the other being Year of the Black Rainbow) not to have a multi-part suite, as In Keeping Secrets of Silent Earth: 3 had the "Camper Velourium" series, Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness had the "Willing Well" series, Good Apollo, I'm Burning Star IV, Volume Two: No World For Tomorrow had the "End Complete" series, and the upcoming The Afterman: Ascension and The Afterman: Descension albums have the "Key Entity Extraction" series.
Read more about this topic: The Second Stage Turbine Blade
Famous quotes containing the word story:
“In how few words, for instance, the Greeks would have told the story of Abelard and Heloise, making but a sentence of our classical dictionary.... We moderns, on the other hand, collect only the raw materials of biography and history, “memoirs to serve for a history,” which is but materials to serve for a mythology.”
—Henry David Thoreau (1817–1862)
“The story is told of a man who, seeing one of the thoroughbred stables for the first time, suddenly removed his hat and said in awed tones, “My Lord! The cathedral of the horse.””
—For the State of Kentucky, U.S. public relief program (1935-1943)
“For slowly even her sense of him
And love itself were growing dim.
He no more drew the smile he sought.
The story is she died of thought.”
—Robert Frost (1874–1963)