Coma Beach is an experimental rock-punk-alternative band from Germany. Whatever feels musically artificial and preprogrammed is the exact opposite of these guys. You hear the sounds of real guitars and drums in a room, with sympathetic echoes to every chord and squonk. The vocals are punk classic, going back to the groundwork laid by the revered Mr. Rotten. The band has eight releases to their name, and the latest is called Passion/Bliss, an allusion to the classic Beckett play “Waiting for Godot.”
Based on the liner notes and press release (thanks guys!) this album seems like something of an Odds & Sods collection, with many “singles” having already been released in longer album versions. Turns out this is the third EP celebrating the 30th Anniversary of the band’s debut album “The Scapegoat’s Agony.” That would explain the raw, organic rock feel of these tracks. Influences include The Sex Pistols, Ramones, Hüsker Dü, Joy Division, The Cure, The Jesus and Mary Chain, Guns N' Roses and Bad Religion. Aside from Becket, the band has been schooled by the works of Shakespeare and Douglas Adams. The cover image looks like an AI version of Max Von Sydow. We open with “Passion (Single Version)” which was written by Captain A. Fear and U. Terror. There’s an overarching story that moves each track along, though I can’t tell if this was an imaginative touch added later. We’re first greeted by strummed electric guitar that really strains to hit the chords, with a matching disconsolate vocal (“the unnamed antihero turns his attention to his complete and utter lack of emotional well-being”). There’s a mournful cello underlining the bleak lyrics (“I’m going out the door / Where the axe of death passes me its hand”). The anticipatory tension finally breaks with the entrance of drums and wailing lead guitar, but we’re not done yet: In the third section we kick into fast punk-rock time. “You support the guilt!” Full disclosure: I thought they were singing “you support the Guild!” which made me think this was a political screed. Works both ways! “Bliss (Single Version)” begins with a warbling picked electric guitar from the Cobain “In Utero” school, along with that classic Nirvana soft/loud dynamic. At this point our antihero has “quite literally lost his mind” which is represented by a rapidly increasing tempo and a Daltrey-like echo into nothingness. I love the punk drive of this track, and the double-tracked lead vocals. “Astray (Fallen Angel)” is another shortened Radio Edit of a classic track, and features an absolutely terrifying cover image. Musically this track moves freely between fast tempos and laid-back Armageddon Rock. I’m hearing lots of religious tropes including a few random Commandments, which makes sense as our hero now thinks he’s Christ. “Nothing Right (Original Version - Radio Edit)” apparently dates back to the band’s second demo tape. It’s slightly muddier than the previous songs but the singalong, OI-like chorus of “Tell me the meaning of my life… tell me the meaning of my death!” will have fists pumping and moshers moshing. Seriously this has every bit the energy of a classic early Who single. The final track is appropriately called “The Final Door (Radio Edit)” and was originally a hidden track from the band’s debut release (though this version is shorter). It’s a two minute, very fast rundown of all the torments our hero’s enemies can expect in the Afterlife (at least there IS one!). It’s a fairly simple, unchanging track but a nice and compact end to the festivities. This turned out to be a great introduction to a band that’s been cranking away for decades, and it’s never too late to tune in. Recommended!
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