The Codax Necro (Coda Thread)

The Summoning thread got me to thinkin’ 'bout codas. I do love a good coda, and it seems to be something of a lost art in the realm of heavy metal. Post good codas here. Maybe include a timestamp so everyone knows what the hell you are talking about.

Here are a few off the top of my head.

Where Hope and Daylight Die. Coda starts at 5:10 or 5:35, depending on how strictly you define it. I lean towards 5:10. Quite possibly their finest hour in terms of percussion, and I really dig the way all comes together. It’s one of those things you hear and immediately think, yep, Summoning.

Opeth are past masters of the coda. April Ethereal has one of my favourites. Starts at 7:35.

I would be remiss if I did not also mention Masters Apprentices. Starts at 8:34.

And obviously Deliverance. Starts at 9:42.

I know everyone thinks In Flames is lame, but I do not give a fuck. The Jester Script Transfigured. No doubt a controversial choice, but I have always loved Whoracle in general and this song in particular. It has a kind of emotional heft to it that is very rare in metal. Coda starts at 4:40.

As an aside, the production on the acoustic guitars is absolutely fantastic. Fight me in the streets.


Good post. I don’t think I even knew what a coda was prior to hearing these examples. Panopticon, who I think have really well structured, very riff-heavy tracks seem to make use of them nicely.





Am I even doing this right?

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A coda differs from an outro inasmuch it includes new information at the end of a song that indicates finality, typically following some kind of crescendo. The crescendo can also occur during the coda, as it does in Deliverance and Autumn Eternal (vis-a-vis the apshit drumming). I’m not familiar with the band / song so I just skipped to the time you indicated without knowing what preceded it. I would say the coda starts at 5:39.

Living Eulogy is a bit trickier because the end section starts much earlier, at around 5:50. I don’t think that would be considered a coda in the strictest sense.

Codax Jago jejejeje



As a title, it works on many (by which I mean two) levels.

Also, those Panopticon codas were p cool. :cheers:

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Perfect coda here in the end - 5:07

Jari loves a good coda as well - 5:43

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The Scorcier Des Glace coda is absolutely fantastic. That is exactly what I am talking about.

Battle Against Time does not have a coda. That’s a fairly standard songwriting technique, bringing it home (i.e., ending on the intro riff). In this case he’s not only repeating the riff, but also the exact same vocal and musical elements they use in the intro and at various other points during the song. Codas have to introduce new information to the listener.

This song is pretty illustrative as to why I’m not a huge Wintersun guy. Mäenpää has a tendency to take cool ideas and absolutely kill them to the point where they have no impact at all. The riff you refer to is fucking amazing, but by the end of it all, I’m just like, meh.

Fun fact, I first heard Wintersun via the old-school method of online edits, in which bands would release edits which kind of blended different songs into an easily digested package in order to showcase the album. The edited versions from Winter Madness were fucking amazing, and when I finally got my hands on the CD and was able to listen to the full tracks, I was like, god DAMN it. I think I still have the MP3s lying around somewhere.


Yeah you’re right, he’s entering back into the first chorus dramatically sans drums. A classic, but not really coda (had to look it up).

Michael, I am without question the biggest Panopticon fanboy on the frm, but I think you would probably like both Roads to the North and Autumn Aurora. These were the albums where Austin really started flexing his songwriting chops. He’s a huge prog guy, which probably helps, but without his albums turning into jazz or circus music. The quality of the drumming and guitars in a one man project is just nuts.

You’re correct in calling it the chorus riff. That is more accurate than an calling it intro riff, even though they play it as the intro. It would have had a lot more impact if they didn’t use it that way, in my opinion.

Moar codaxes:

Chariots of Thunder, a classic. Coda starts at 4:20. They get a lot of mileage out of that riff. Hellhammer is so good on this album. Also, that intro riff is heavy as balls.

The Insight and the Catharsis. Back in the long-ago times when Dimmu were good. Starts at 5:29. A very clever arrangement. Probably their best song.

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I actually might have one of their earlier albums (mid 2000s) on my old HDD. I forget the name, but I remember enjoying it. It had many of the elements of those songs but it was more sludgy.

Eh, disregard, the band is Isis (not a name which aged well) and the album is called Panopticon. Similar kind of vibe, though.

I will give them a whirl, I actually really dug the tracks you posted, the musicianship was very good. :cheers:

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Traditional metal, but my favorite. 5:15. THE STRAIGHTENER


Sabbath has some excellent ones now that you mention it. 6:30 onwards.


Well of course they do, they have excellent everything. Great idea for a thread, Michael.


I don’t know if this counts because it’s like a third of the song, but the section that starts at about 6:00 if one of the best builds to a conclusion I can think of. The way that the riff gets stripped down to its barest elements and then the whole thing comes roaring back. It does that apocalyptic crescendo thing that Neurosis do so well, where everything seems like its coming apart at the seams.

It absolutely counts. Shit, the coda for Hey Jude is four minutes.

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This is turning into a p cool way to discover new music (not my strong suit). :cheers:

Yep, great thread idea. Annoyingly, I can’t think of any examples off the top of my head, despite being a fan of the technique and having a background in classical music that makes me attuned to it. I was thinking of the last track off Stronghold but that’s recycling the melody from the first track of the album, so I’m not sure whether that counts… I guess it would if it were released as a single - as if.