I have no problem with concept albums. In fact, I like concept albums. The problem I have with Coheed and Cambria’s concept is that it spans over four albums.

The newly released, final installment, “Good Apollo, I’m Burning Star IV, Volume Two: No World For Tomorrow” might have been slightly better if it could stand on its own two feet instead of feeling like a piece of a puzzle. The result for those who don’t follow the band closely is much like trying to jump into “Heroes” midseason. Who are all these characters? What’s the point? Why should I care?

One thing I can understand about “No World For Tomorrow” is that these guys know how to play their instruments. Vocalist/ guitarist Claudio Sanchez, guitarist Travis Stever, bassist Michael Todd, and drummer Chris Pennie all shine on their respective instruments. Some songs are bass-heavy (see “The Running Free”) while others are dominated by Zeppelin-esque guitar shredding (see “Gravemakers and Gunslingers” and “The Hound [Of Blood And Rank.]”

Lead singer Claudio Sanchez has one of those voices that you either find utterly annoying or utterly addicting. In this case, I think it’s the latter. Sanchez’s real problem is in his songwriting. It’s just boring. Nothing stands out and there are hardly any hooks on the album, which left me wondering if some songs even had choruses. Two of the catchiest songs on the album are “Feathers” and “The Running Free,” the latter of which also happens to be the first single.

It’s easy to see where Coheed and Cambria draw their influences: ’70s music. Glam rock, metal, and classic rock sounds all show up on this album. When they want to make an all-out aggressive rock song, Coheed and Cambria produce entertaining results. But the slower acoustic songs like “Mother Superior” and “The Reaping” have no place on this album or any other by this band. Sanchez’s voice may be addicting, but mixed with an acoustic guitar, it just sounds awkward and forced (think Geddy Lee from Rush). He should probably stick to the upbeat tunes.

Some of my favorite Coheed and Cambria songs are “A Favor House Atlantic” and “Blood Red Summer” from 2003’s “In Keeping Secrets of Silent Earth: 3.” Those songs are ridiculously catchy and have fun choruses to sing along to. This album is almost completely devoid of such pleasure. In fact, some of the songs drag on for five or seven painful minutes. I get that the band is trying to fit their sci-fi, “Star Wars”-like epic concept into four albums, but big ideas like this fall flat without interesting music and lyrics. The last five songs on the album, collectively known as “The End Complete,” are, sadly, the most boring songs on the album.

I personally know a lot of people who consider “Return of the Jedi” to be the best “Star Wars” movie out of all six. While I do not agree with these people, I can see why they would think so. “Return of the Jedi” held nothing back and it pulled out all the stops. Han Solo returns, Princess Leia wears some hot slave outfit, we find out Luke and Leia are brother and sister, and we see Vader with his mask off.

This is all capped off with a simultaneous battle on the Death Star between Luke and Darth Vader, and on the Ewok-infested moon of Endor. This is how a series should be concluded. Instead of going out with a bang, Coheed and Cambria’s epic tetralogy just fizzles out. I wasn’t necessarily expecting light saber fights, but I was expecting something a little more grandiose.