In Keeping Secrets of Silent Earth: 3 is the second studio album by American progressive rock band Coheed and Cambria. It was released on October 7, 2003, through Equal Vision Records. It was recorded at Applehead Recording, Woodstock, New York and produced by Michael Birnbaum and Chris Bittner.
The album is the second installment of a tetralogy about the ongoing saga of the Keywork in The Amory Wars. The Amory Wars is also the name of the graphic novel series written by lead singer Claudio Sanchez that details the events foretold in greater detail. There are three notable singles on this album: "A Favor House Atlantic", "Blood Red Summer" and "In Keeping Secrets of Silent Earth: 3".
The album peaked at number 52 on the Billboard 200, has sold over 500,000 copies and is RIAA-certified Gold. Entertainment Weekly described it as being one of the top five key albums in the new prog genre.
It's fine, but too long. Also the song names were way more interesting than what the songs ended up being.
My personal rating: 3/5
My rating relative to the list: 3/5
Should this have been included on the original list? No.
The whole package here (an artistic universe w
that sounds like wizard-battle fantasy dressed up in a sci-fi costume, complete with comic book and ancillary products) is pretty wild. I'm actually pretty envious, its an artistic legacy to aspire to. Musically its pretty conventional prog metal and honestly a lot of what is basically 90s hair metal. The sci-fi narrative was not really getting through to me. Point docked because the cover art is unforgivably dull give this thing is adjacent to a spaceship and sorcery comic book. Look to Hall of the Mountain King and repent!
In Keeping Secrets Of Silent Earth: 3 is a progressive rock album by Coheed and Cambria. As pretentious the title sounds the overall lyrics are indeed. The problem is that the song titles sound more interesting than the lyrics and music they over. Also the production of the instruments (especially the guitars) sounds flat. I guess due to too much compression. Also the guitar sound in almost all tracks is exactly the same (pedals and other guitar effects). This makes it a mediocre experience that mentally moves to the background. Only tracks that offer some alternative to one big sound that goes on forever are "Blood Red Summer" (variating in drum and feeling), "The Camper Velourium III: Al the Killer" (finally guitars sounding different) and the outro of "The Light & the Glass". It is just too boring and almost 70 minutes long.
I've dabbled in some Cohered and Cambria before and liked some of it but I really enjoyed listening to this full album. What can I say I'm a sucker for some progressive rock.
With song titles and an aesthetic like that, I really didn't expect this to sound like woah-oh-oh Disney Channel pop punk.
Kinda whatever. The concept seems cool, but it's just not very musically interesting. Surely there's a genre that would be more fitting for your tetralogy of sci-fi novels centered around an intergalactic war than the Phineas and Ferb theme song.
May 2, 2026
is there any emo punk missing from this list at this point? I guess someone could add Billy Talent
Turns out the genre doesn't get less annoying to me when you stretch it out over 10-minute suites and 70 minute albums. To be fair, I thought The Black Parade was a bit annoying, so it's not Coheed and Cambria's fault that I can't immerse myself in this era of rock music.
Lest we forget those prog elements-- I was intrigued at the promise of a sci-fi saga called The Amory Wars. But when the music sounds like this I could not give a fuck about the story. One of the characters likes to kill women, I picked up that much. His name is Al the Killer
Good Charlotte makes a Rush album
This rambles an awful lot. It's an album that has ambition, as well as staying power. Unfortunately I wasn't around for the full journey. It was all very competent and technically strong. It was just far too heavy for me. Bailed after track 3.
Way too much for one LP, especially for how homogeneous the tracks sound against one another. The lyricism tends toward slightly goofy, and while there was some interesting guitar here and there, it wasn’t nearly enough to justify a 70-minute runtime. This album would have benefited greatly from some editorializing, cutting all the unnecessary tracks and perhaps honing the vocals a bit.
It's well produced, sung and played but it doesn't offer anything new.
Seriously guys there a so so many bands that have been before and done all this.