Like tasting coffee for the first time, hearing Coheed and Cambria takes some getting used to. It's an acquired taste, mostly due to the undude-like vocals of frontman Claudio Sanchez. There's a little something for everyone in the band's music however, whether it be the sci-fi world the band has created, the rich blend of intricately layered guitars or the prog-rockers' standalone talent for musicianship.

On the second of three consecutive nights at the Glass House, the rock geeks brought to the forefront a caffeinated and wining performance that exemplified their true artistry.

Though Sanchez and his signature mop-head stood center stage, it was the bands euphoric and challenging instrumentation that provided the night's gratification.

With a conceptual landscape to back them up, Coheed's multi-faceted music, inspired by the progressive and classic rock bands of the '60s and '70s proves to be a fresh alternative to most of today's mainstream rock – and eventually you'll notice, Sanchez' voice, is actually quite complementary to the music.

Together the band pounded out tracks mostly from its latest disc Good Apollo, I'm Burning Star IV, Volume One: Fear Through the Eyes of Madness and 2003's In Keeping Secrets of Silent Earth: 3 – illustrating the bands innovation and ability to not just play music but become part of it.

The set ranged from the hook friendly “The Suffering,” to the harmonious “A Favor House Atlantic.” “Ten Speed” and “Welcome Home” were accompanied by audience members singing backup.

The band displayed a softer side with an acoustic version of “Wake Up,” which Sanchez introduced as a song about snakes on a plane.

He also managed to crack a few jokes during the set, which was a nice retreat from the dense nature of the band's lyrics.

He explained, that despite any preconceived notions “The Velourium Camper I: Faint Of Hearts” is actually about phone sex, saying “I'll touch it if you ask me to,” are the dirtiest lyrics he's ever written.

The band's finale, “The Willing Well IV: The Final Cut,” – while it would have been best suited somewhere midway through the band's set – demonstrated, through its epic tone and vibrating, stinging guitars, the bands ability to take ordinary instruments, to new heights.

In a live setting, it's not often that actual musicianship overrules performance, but Coheed just might be the exception to that rule.