 | First Utterance (1970)Genres: progressive rock, folk-rock |
review by daniel
This is one of those obscure classics that richly rewards the effort you made finding it. Comus played dark, gothic and demented folk-rock that sounds like nothing else. The instrumentation is purely acoustic and includes guitars, bass, flute, hand drums and violin. There are no ordinary drums or electric instruments present (Glen Goring is credited for electric, as well as acoustic, guitar but I frankly do not recall actually hearing it). Several singers, both male and female, contrast each other creating a twisted and schizophrenic atmosphere. The lyrics fit the demented nature of the music well since they deal with rape, murder and insanity, without straining after effect.
Highlights include the equally frantic “Song to Comus” and “The Prisoner”. The latter closes the album in a fantastic way that really leaves an impression. The vocalists tell a story about a man who is put in a mental institution, while they at the same time sound as if they belonged there themselves. The song ends with them chanting “insane” over and over. Great. Do not be afraid if you find yourself screaming “then they gave me chock treatment” for hours after that (it is perfectly normal).
Unfortunately, the first side of the album is significantly weaker than the magnificent second side. If side A would have been as good as side B this would have been a masterpiece. It is still a very good album, though.
 | To Keep from Crying (1974)Genres: folk-pop |
review by daniel
The verdict from those who liked “First Utterance” is unanimously bad. Still, I needed to hear it myself. How can it be bad with Pip Pyle and Lindsay Cooper (of Gong and Henry Cow, respectively) on board, in addition to the gifted people who produced the predecessor, I figured (name one good “super group” you fool!). It is quite bad, I am afraid.
If you get past the disappointment (you will probably not) of not getting more of the frantic folk you expected, you might find a few decent pop songs. The only thing that is left from what made “First Utterance” brilliant and unique is a slight silliness in the singing (those female helium voices pop up from time to time). The male madmen-voices are unfortunately not there to contrast them (now I realise how important that contrast was on the previous album). The hand-drum cacophony, the intense flute- and violin playing and the dark and twisted atmosphere are gone as well.
The album basically consists of some decent pop songs and a couple of strained attempts to get radio play (too bad you would hardly notice them if they succeeded). Handclap instead of hand-drum madness, if you will.
