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OUT OF THE COMA

Comus

Prog Folk


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Comus Out of the coma album cover
3.97 | 85 ratings | 3 reviews | 17% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2012

Songs / Tracks Listing


01. Out of the Coma (8:32)
02. The Sacrifice (8:39)
03. The Return (6:27)
04. Introduction by Roger Wooton (1:15)
05. The Maalgard Suite (15:49)

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians


- Roger Wootton - Guitar/Vocals
- Glenn Goring - 6 String/12 String Guitar/Bongos
- Andy Hellaby - Bass
- Colin Pearson - Violin/Viola
- Bobbie Watson - Vocals/Percussion
- Jon Seagroatt - Flute/Percussion

Releases information

CD Coptic Cat
LP Rise Above

Thanks to psarros for the addition
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Out of the ComaOut of the Coma
Import
PID 2012
Audio CD$17.32
$27.94 (used)
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COMUS Out of the coma ratings distribution


3.97
(85 ratings)
Essential: a masterpiece of progressive rock music(17%)
17%
Excellent addition to any prog rock music collection(44%)
44%
Good, but non-essential (27%)
27%
Collectors/fans only (10%)
10%
Poor. Only for completionists (2%)
2%

COMUS Out of the coma reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
4 stars Forty years after the release of their stunning First utterances album, Comus comes out of their almost 30 years lethargy, by reuniting for a Swedish festival and eventually releasing the live recording. It would be another three years untim we see further album activity, with the aptly-titled Out Of The Coma, and its clear artwork reference to their awe-inspiring debut album. A very risky bet, of course, because we've see dozens of bands break their own legend. There was also a fear from most FU unconditional fans to find their new album closer to their 75-released To Keep From Crying, but these fears proved unfounded, even if OotC is somewhere between those two albums. One of the very positive thing is that the modern-day group's line-up features five original members, with only the (sadly) deceased Lindsey Cooper replaced by the younger Jon Seagrott on woodwinds (sax and flute, rather than bassoon and oboe), who also designed the album's outlay and fit the different artworks of the booklet (including some rare 72 session photos), one of which is from The Red Masque's singer Lynette Shelley, who's a major fan of FU. So besides the two "voices", the eerie one of Roger Wootton and the crystal-smashing one of Bobbie Watson, we find Pearson's violins, Hellaby's bass and Goring's many guitars? It looks like they've got most of the trump cards in their hands.

And indeed, right from the first card played, the 8-mins+ title track, we find almost everything we loved in their first misdemeanour, and find ourselves almost transported to the sequel of the Diana EP that had followed their debut album. Indeed, we find the (slightly gentler) madness of Wootton's vocals, which dispels some deranging lyrics, much in the line of FU and Seagrott's sax doesn't diphase us from the Comus realm. The following 8-mins+ Sacrifice is a tad closer to their second full album (at least at first), but it would stick out as its highlight, had it found place on it. Indeed Bobbie's calm vocals give a soft ambiance, reinforced by Seagrott's flute. But halfway through the track, the band returns to their usual insane musical manners and Wootton pushes Watson's vocals to glass-shattering heights, while Seagrott's flute pulls some real neat interventions, before Pearson's violin takes over. The 6-mins Goring-penned The Return is somewhat softer

Of course, it is the Maalgard Suite that holds most our hopes, as this was supposed to be the main work of their second (but lost) full-fledged album. The only witness of that conceptual piece is a live-recorded cassette miraculously found, dusted and restored (as much as possible) of the first part. As you'll easily guess, the sound is anything but great, but whatever you'll hear will enchant you, as you'll realize that their would-be second opus would've at least looked equal to FU. Sadly, the second part was never recorded, but apparently it was written. It is therefore a little sad that Comus didn't choose to re-record the first instalment and record the second yet-uncommitted to tape second part, and then maybe add the live recording as a bonus track. Another disappointment is the spoken explanation between the new material and the historic live tape. I'd have been much happier if I had read it in the booklet, rather than be subjected to the explanation every time I spin the album.

Well, despite most observers' anticipated fears, Comus scores a successful touchdown with their newer material, but fails to convert it with an unfinished historical Maalgard Suite, which was expected to be the icing on the cake of the band's musical legacy. Of course, it's not too late yet, and the band can indeed convert the try by releasing the definitive Maalgard epic in a full-blown studio version, since they've clearly shown us that they've still got IT!! Get to it, guys ;-))))

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Send comments to Sean Trane (BETA) | Report this review (#747657) | Review Permalink
Posted Wednesday, May 02, 2012

Review by GruvanDahlman
PROG REVIEWER
5 stars Well, now here's a surprise! It is rarely so that a band release an album after a hiatus of the odd 40 years and it's like they never split up in the first place. More than often comeback albums of bands from yesteryear or even longer put out an album merely lukewarm, if that. In this case it is just the opposite.

Comus. Who were they? Who are they? Musical geniuses? Demented occultists? I suppose the truth lies inbetween. There is no question in my mind that Comus are brilliant in a weird, scary, demented way. In the garment of british folk they rear their ugly head and behold, there is light in the darkness and I am willing to follow this askewed light wherever they go.

I often find myself categorising Comus as Hammer Horror folk. If you've ever seen one of Hammer's productions I think you know what I mean. There is quite a resemblance between these two. Listening to Comus I see before me misty, british meadows, gently stroked by the morning sun but behold, in the far lurks the creatures of the dark. The people who dwell in the dark side of existance. Purple garments. Horned helmets. Crooked daggers and incantations. Blood and gore.

"Out of the coma" is an aptly named title for an album so long in the waiting and starts off with the powerful title track. Great instrumentation and vocals from the depths of humankind. "The sacrifice" and "The return" are equally impressing, though the latter is very beautiful and gives somewhat of relief to the other tracks horror-like soundscapes.

I suppose that the prize is really "The Malgaard suite". Shrouded in mystery and coming out of the past like a ghost it is great to hear. If I had been there in 1972 I probably would have found myself blown away, since it is a performance of great power. Coming off a cassette gathering dust for 40 years the audio is less than crisp. On the other hand the sound is amazing, considering, and gives a really good idea of what it must have been like witnessing Comus perform live. Don't get yourself worked up about the audio quality. It is amazing considering it's age, like I wrote, and is truly an amazing experience. It is nigh on impossible to decipher something or anything of the lyrics but in some sort of way it only adds to the experience. A rare moment in time, thought to have been lost for eternity, rises through the ashes and presents us with something truly unique. I am not saying that "The Malgaard Suite" is the best song by Comus, simply that it is a raging piece of music so historically important and rare it transcends imagination. Glorious, really. Maybe Comus will get around to record it in the studio alongside part 2 and that would be truly awesome.

The Comus trademarks, beauty and horror in perfect folk harmony, are all very evident on "Out of the coma" and is all you could wish for (and more) from a band who left such a legacy 40 years ago and then lying dormant in obscurity, a secret known only to the initiated. This is truly an amazing feat and this morning I've listened to it for several hours, discovering more and more of the secrets on the album. The folk that Comus presents is one where the boundaries of the genre are stretched to the limits and maybe even beyond the pale, into the wild. I cannot stop listening to "Out of the coma", it's just too enjoyable and I fear I could go on forever ranting about it's brilliance. Comus may not be the easiest of bands to listen to but the reward is so much greater.

I am reluctant giving the album five stars but then again it is a magnificent record, in some ways surpassing First utterance. How weird is that? But hey, "weird" is the trademark of Comus anyway. One of the key ingredients that make the album so great is that the vibrant, youthful inspiration of 1971 has matured into the elderly grace and knowledge of life and the ugly side of being. That makes Out of the coma so worthy an album it is rare in the true sense of the word. Ah, why not? It is a flawless album. Here's to Comus á la 2012, you are worthy of the five star rating. Here you go.

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Send comments to GruvanDahlman (BETA) | Report this review (#928138) | Review Permalink
Posted Monday, March 11, 2013

Latest members reviews

5 stars This album is a very natural sequel to "First Utterance", maintaining all the strengths of Comus's initial effort. Comus are, in general, a very difficult band to listen to - one of the few bands i've ever found genuinely distressing, mostly because the combination of harshness, shrillness and ... (read more)

Report this review (#753956) | Posted by FolkDragon | Wednesday, May 16, 2012 | Review Permanlink

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