COMUS

This short EP was included on my Japanese paper sleeve edition of First Utterance which felt like a nice little treat at the time when I purchased the quite expensive debut studio album by Comus. It's safe to say that the new material on EP/Maxi paints a diverse picture of the collective behind Comus but ultimately the directionless approach makes it inferior to the classic studio album that succeeded it.

Even though this version of Diana is about ten seconds shorter than the final version that made it to the studio album I can't hear much of a difference on this recording. Lost Queen's Eyes is a surprisingly beautiful and upbeat number that would probably not have worked so well in the combination with the much moodier material from the debut album and it was a good choice not to add it to the track listing. Having said that I actually really like this short little tune and it would have been interesting to see how Comus could have turned out if they followed this direction. The 8-minute long Winter Is A Coloured Bird adds another piece to the Comus puzzle by showing us a pure folk rock arrangement to the music making this track sound even more traditional. This style is quite beautiful even though was hardly original even by 1971-standards.

Diana - Maxi single tells a totally different story of the band's development which might surprise everyone who has heard First Utterance, and vice versa. Ultimately this is nothing I can recommend to anyone who isn't a big fan of Comus, hence a collectors/fans only recording.

**** star songs: Diana (4:24) In The Lost Queen's Eyes (2:50)

*** star songs: Winter Is A Coloured Bird (8:02)

I only got acquainted with Comus in 2008 when their reunion concert was announced as a part of the Melloboat cruise, which also featured Anekdoten, Opeth and Mats-Morgan + special guests. After seeing this band in such a good company it made me even more interested in this little known '70s treasure. At first I hesitated to pay the price of almost $30 for a Japanese paper sleeve edition of First Utterance but seeing the praise that this album has received in the prog community I felt obliged to bite the bullet and lay my money down.

What I was met with was quite an extraordinary take on the Prog Folk genre that I honestly didn't expect to hear on such an early recording. Granted that the golden years of Prog Folk were between '71-'72, Comus' First Utterance didn't really fall in with the classics like Aqualung, Thick As A Brick or Stormcock. This was quite different beast that, to my ears, sounded more like a dark and more sinister version of the band Curved Air. Even thought I was positively surprised by what I heard this album was far from an easy listening experience meaning that I need to take at least one break throughout the record's 50 minute duration. There was something in this music that felt dark and unsoothing for my tastes. Eventually I began feeling comfortable listening to First Utterance but this didn't really make me want to pick it off the shelf on a spontaneous occasion. Even today I felt like a mental preparation was in order before I pressed play on my player.

The opening track Diana is probably the most digestible track of the bunch with a well defined chorus and overall structure. This is of course more an exception than a rule and the 12 minute long The Herald highlighted this very clearly. The lengthy track had an almost hypnotic, psychedelic-like, quality to its middle section which makes it stick out even more out of the bunch. Drip Drip is a notorious composition that has inspired quite a few generations of fans among which is Mikael Åkerfeldt who even titled the third Opeth album with a direct quote out of its lyrics.

Song To Comus is the most melodic moment which might not be all that representable for the rest of this material, still it's easily my favorite performance which probably tells you more about me than anything about First Utterance. The combo of The Bite/Bitten is another occasion that reminds me a great deal of Curved Air. The latter of the two is a dark and atmospheric instrumental that I guess is suppose to depict the restlessness and transformation. The final track, The Prisoner, is actually a bit of a disappointment in both its lyrical and structural arrangements. After such a strong performance throughout the rest of the album Comus delivered a very ordinaire conclusion that doesn't really fit in with the moody material before and instead reminds me more of a Jefferson Airplane performance from around that same era.

It's undeniable that Comus recorded something unique with their first utterance on the music world which should be enough for me to recommend this album. Unfortunately I'm still struggling to truly enjoy this music which ultimately makes it impossible to award it more than a very strong good, but non-essential grade on my part. I'm sure that this recording will receive a few more revisits from me over the years by I doubt that it will ever become an important part of my record collection.

***** star songs: Song To Comus (7:30)

**** star songs: Diana (4:36) The Herald (12:11) Drip Drip (10:52) The Bite (5:29)

*** star songs: Bitten (2:19) The Prisoner (6:18)

From brief skipping through other's reviews, I got the idea that not knowing their first album is the best thing I can do. I will try to rate fairly, but at first, I have to stop being confused by how I understand this album. Because honestly, I don't know what to think. And this may be the reason why some people rate extremely poorly, while others simply try to counteract it, because they feel this album is good enough and has a lot to offer.

Well, three years passed since album I never heard and Comus sound has changes a lot. Or it has not, depends how first album sounds. OK, this is ridiculous, you can't do it that way, let's just review what I hear on this album.

Weird type of Folk, very strange and unusual. First song is utterly Pop, which isn't very good choice for first song on the album. But later on, we get more elements that can be called Prog Folk. It's still weird though, but it may be just me. Dual (triple?) vocals of distinct man / woman sound that accompanies mostly shorter songs, which can be interesting nevertheless of length.

It's quite melodic (but nothing cheap, robbing other's work), it's flowing easily and the far you get (to the last After the Dream track), the better it is.

3(+), I still feel that there is something bad. But there are good elements too.

I don't know of anywhere to find this "maxi-single" except as Disc One tracks on the 'Song for Comus' collection. In fact though this was the first thing the band ever released, way back in early 1971 and before the launch of their magnum opus 'First Utterance'.

This is essentially an EP, but released before that form of band sampler was really known to the industry. The opening title track is the same song that appears on 'First Utterance', a metaphorical tale about loss of innocence in the form of a lust-filled entity who stalks and presumably rapes a young virgin. The other two tracks "In the Lost Queen's Eyes" and "Winter is a Coloured Bird" wouldn't appear again until the 'Song for Comus' collection was issued in 2005. "In the Lost Queen's Eyes" highlights the lovely female vocal harmonies the band was capable of, while "Winter is a Coloured Bird" showcases the truly unique talents of violinist Colin Pearson, whose string work enhanced the convincing sense of madness that would permeate virtually everything the band would record before disbanding in 1974. Neither holds up against most of the songs on the band's two studio albums, but both are curios worth hearing for fans of the group for their historical value if nothing else.

Comus clearly left a legacy of influence that can be heard even now, thirty years after their debut as a band. Just compare these songs and their two studio albums to the earthy, raunchy and sometimes shocking lyrical stories of the Decemberists and Beat Circus; discordant and dirge-like arrangements of Fire on Fire and Reverend Glasseye; and witness a rich appreciation of the power of tradition-grounded instruments and themes carried on by most progressive folk artists to this day. This isn't essential by any means, but it's not bad either. Three stars.

peace

When I got this album I just listen small parts of the songs fast rewinding them just trying to see what is this all about. All I heard was some strange sounds crazy rhythms annoying violin and sometimes nice female singing. I realized that this is not normal folk album but some kind psychedelic acid horror which normally I am not big fan of. Then I have read some of the revives and in mine disbelief found out what this album is about.A mentally sick person rapes a girl? What a horror. How can anyone make a music about that I was convict that I would rate this album with just one star.Than I decided to thoroughly listen all song so I can fairly describe the music.

Opening of the first song "Diana" has confirmed mine suspicion. Psychedelic violin and crazy singing. Than suddenly violin produced nice melody and male voice starts to sing. I had to admit voice had certain energy in it. Violin continue and rhythm starts to build-up, like in some kind of shamanic ritual. I did not expect this. its a great song. You cannot resist rhythm and I cannot escape feeling that this song has something demonic in it. Next song "the Herald" is normal folk ballad with atmospheric sounds of guitar and beautiful female voices. Its long over 12 minutes.Next song "Drip Drip" (awkward name for a song) music starts in same awkward fashion, than this gay Roger Wootton start to sing. His voice is perfect for this kind of music. Just a bit ruff on the ages. Listen only sounds that he makes on this song they are on perfect places and they are building the atmosphere following the rhythm. After this first part this crazy song continues in fast psychedelic rhythm. Than comes the scene of rapeing as far I could understand lyrics he is first threatening the girl "shall I cat you down" than he lunaticly repeating 'I'll be gentle, I'll be gentle".And then in the and when he is finish he is saying to her "I love you". So realistic and sick as the real think could be. This guy actual wrote convincingly song about reaping. By this time I realized that this album is special (not because of reaping but because of music). Song to Comus starts with a nice acoustic guitar accompanied wit flute. Than starts the echoing singing and after a wile rhythm builds up and Wootton again start his crazy singing. Rhythm slows down, flute again joins and again energetic singing returns with fast rhythm. Song continues in similar fashion for couple of minutes. This is another great song.

I want say noting more about Comus - First Utterance. I recommend this album to everyone who like great progressive music.Songs ratings:special songs that cannot be rated (out of scale): Diana, drip drip, song to comus, the prisoner. five star: the herald, the bite, bitten. Essential a true masterpiece of acid folk.

First of all, this is a sick, sick album. It deals with topic as necrophilia, murder, rape, insanity and more. It's not a cute little New Age kinda thing about love and peace. If you want that you shouldn't buy this album. Go and buy some solo Jon Anderson stuff. You damn hippie.

Anyway. I bought this album, it came all the way from Japan. Really neat packaging. The album cover fits perfectly with the music. It's a nice cover, but let's get on with.

I'd say the best tracks are Diana, The Herald, Drip, Drip, Song to Comus and The Prisoner. The Bite and Bitten are both great, although they doesn't really reach the level of greatness as the others.

Comus is quite a unique band. Instrumentally they're fully acoustic; with the raw vocals and lyrical themes it creates a neat juxtaposition. Drip, Drip is a lyrical masterpiece, at least Opeth thought so when they stole the line "my arms, your hearse". But every track got great lyrics with a great flow. They're unique and that matters lots. The Herald is the longest track and is instrumentally the best track. Actually quite beautiful, not at all wild, raw or rough.

Five stars. It's a great album. It does require a certain taste, but it's totally worth it. You might even wanna try and ease into it if you don't like it at first. If you like the more experimental edge of prog you'll love it. It's kinda like Van Der Graaf Generator if they were acoustic.

Truly haunting & horrifying.

This album can scare you to death. Frighting lyrics, cacophonous melodies; a mysterious & challenging piece of art. Once the album begins the feeling hits you. In its entirety, First Utterance is a journey. You get taken places you never imagined possible. While every song offers itself lyrically & musically, the true masterpieces on the album are: "Drip Drip" (which I find myself singing constantly, creepy, because this song is about rape), "The Herald", and "Song to Comus". These songs are true masterpieces in the genre of freak folk, and they are very progressive no doubt! This album is ideal for any fan of intense progressive folk, but First Utterance has its share of beautiful melodies as well. First Utterance puts heavy metal to shame. Even without any electric guitars or pounding drums, this album still manages to scare anyone silly.

4 stars.

Nice concept album of Comus. Progressive Folk but with lot of interestingn music contexts with some psichedelic Space Rock and Shynphonic Prog parts. Very calm with some nice female chorus and voices that made a relaxing atmosphere. Very nice for a SPA. They don't make any adiction of Folk british influencies and I think that this album are including in this music group because is very calm and have lots of harmony. Not boring and very good for quit moments that we need sometimes. I like all the moments of this work that is very nice and a good adiction of Folk Progressive collectors. I give 4 stars because it's a important album of begining 70 décade and the instruments choice for this work made a happy moments. I don't really apreciate Progressive Folk but some albuns I must recognise that are great in inspiration and conceptualization and I have some of them in my collection because I apreciate inovation and some quit moments in my life. 4 stars and it's a great album.

I dont know how to start to even write a word on this monstruosity! This disc is like nothing ive heard in my life, is a unique record anyway you want to put it. "First Utterance" is a devilish, ultra-pagan, really funny and creepy opus magnus. In it the Milton´s poem is twisted upside down so the animal demonic lust ( Comus) wins by the hand to the virtue, and you can imagine is not for anyreason..... But that is not saying almost nothing of this recorded grandeur. I read Comus members were friends of Bowie, and that makes a lot of sense by a lot of reasons, first because one of the roots of Bowie (being the other the Warhol Reed New york urban escene) is a tricky pagan stand, second because you can hear Bowie using Roger Wooton singing antics and technics in "Black Country Rock" for example. Also i think some lines in "The Man Who Sold the World" disc are refering to Comus members ( dont know wich song exactly) were "they pushing his friends to the dark side of town" That is normal because theres no way Comus have been a should out, they thing is so aunthentic, so disturbing, so evil.... that Black Shabbat seems nursery music in comparision. But i tink is funny to think Bowie and Comus taking some of theyr (utterly demonic) musical skills from an Aquelarre, or a very dark witch english ( I should say Celtic?) coven. In fact the first thing that amazes the listener is the vocal tricks and goblin like voices theyr so disturbing that you wonder if its just really technical modulations. Then you are raptted ( not a metaphor) by the most pagan and dark music you ever heard, just "Venus in Furs" can be compared to that. But one of the things that really hook me is...they are simply funny, like Reed have never been ( althought he have pretended to ). Theyr music blends cruelty with exilaration in a incredibly way, because the dark side enances the funny side and the oposite is also true. But this is in no way urban.....is some ritual "deep in the woods" music. You have the feeling sometimes this is the music from the Hiperborean age that made human and monsters have theyr "finnal fisical comunion" in the Leng plain ( Lovecraft of course). They really know how to be hipnotyc, ghostly, carnal, demonic, witchy....!wicked!

"Diana" starts with a wonderfull bass line ( yes the first thing that comes to your mind is trolls in the forest) and the vocal halucinations that your gonna hear all along the discs. In the middle part you can hear some dark violins from a Celtic hell. !So great!

"The herald" the acustic song with strange and blisfull melodies. Theres some really great acoustic guitars and several fadings and comings of the music. It makes me feel like im hearing the Sirens that almost killed Ulises, a strange dreamy atmosphere blowing trought the song.

"Drip, Drip" Whoa! This is genius especialy for the 70. It starts with a creepy musical phrase and then it goes to a celtic wonderfull section wich then turns into the chorus so nicely ( chorus that is the grandfather of every dark metal music ever). Then the music fades and a pagan bubling freak out begins, the violins crescendo leaving you without breath ( who says that you cant dance to Prog music?). Then you are lead into the ubber hilarious and terrorific section of the"fisical comunion..ill be gentle"...it always makes me laugh! is so impossible and weird!! and then some freaking melodic nightmare and incredible acoustic guitar dark riffs. In theyr defense ( if possible) i would say that the topic of the song seems to be an ambiguity between a ritual murder and the Miltons Comus. In the poem Comus gives a brew to the girls that makes them as dionisian as the Bacantes. Thats why this something dripping from the saging lip could be as well blood as the Comus poison.

"Song to Comus" Fantastic! A dark masterpiece with an inminent atmosphere substained on one chord. Roger Wooton making the most incredible voices and effects: He beats his cheast in a hiccuping stravaganza i never heard before, and of course he sings like a black goat. The celtic ending of phrases is stimulating at least.

"The Bitte" start with what it seems to be the "Cat Scracth Fever" riff but faster darker and..acoustic. The music is wonderfull with different changes a pagan blown-out, with dramatic crescendos. The song´s lyrics are the narration of they last and creepy day of a christian hollowed by his creed...to death, of course.

"Bitten" is a demonic violin mood, made of disonances ( some triton or just hundreds?).

"The Prisioner" is one of the most funny songs ive heard. It starts with a joyfull melody, even too melodic and pastoral for my taste, but the lyrics.....are at least making a counterpoint...they sing about a guy wich thinks is crazy, and is about to recive shock tratment...he seems to be happy to be normal...but hes just an introvert freak and is destroyed in a mental assylum. The message seems to be "Dont be worried of being mad unleash you are caged in a mental hospital". The dramatic hard sections are very enancing and freaky.

Four stars and a quarter for these demons.

Comus - Diana (extended pre-release single)

This is an EP with just three tracks, released before the First Utterance album. My First Utterance vinyl version has a second 45 rpm lp containing the original Diana material, which runs about 15 minutes.

The track Diana is also the first track of the First utterance album. This psychedelic witch-like track with strange lyrics and a folky melody is very nice but not of interest since it is also available on the original album. In the Lost Queen's Eyes and Winter is a Coloured Bird are the material you'll seek out if you buy this EP. Both are excellent folk tracks with some psychedelic influences and a lot of beautiful folkish acoustic guitar parts with some nice violin. True fans of Comus might want to hear this and be surprised of the elegant Winter is a Coloured Bird that runs for eight minutes. This is stylish prog folk but nothing more.

Conclusion. A short document of some great prog folk. Not important if you don't like Comus and just a good addition if you do like Comus. The music presented is at least good, so I'll give it three stars. It's nice to have a double lp containing both First Utterance and this release. It is strange to give such a short record a rating higher then three stars. Three stars.