England [Dawn 3019]
AMG Review by Richie Unterberger
Comus' first album contains an imaginative if elusive brand of experimental folk-rock, with a tense and sometimes distressed vibe. Although there are elements of traditional British folk music, there's an edginess to the songwriting and arrangements that would be entirely alien in a Fairport Convention or Pentangle disc. At times, this straddles the border between folk-rock and the kind of songs you'd expect to be sung at a witches' brew fest, the haunting supernatural atmosphere enhanced by bursts of what sound like a theramin-like violin, hand drums, flute, oboe, ghostly female backup vocals, and detours into almost tribal rhythms. All of this might be making the album sound more attractive than it is; the songs are extremely elongated and fragmented, and the male vocals often have a grating munchkin-like quality, sometimes sounding like a wizened Marc Bolan. The lyrics are impenetrable musings, mixing pastoral scenes of nature with images of gore, torture, madness, and even rape, like particularly disturbing myths being set to music. It's been reissued on CD, but here's one case where you might want to get the LP reissue (on Get Back) instead, as it comes with a bonus 12" of three songs in a similar vein as their rare 1971 EP.
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Prog Archives Reviews
5 stars by Sean Trane (Hugues Chantraine)
This is really a masterpiece , a gem , a diamond , an enourmous find. Released in 71 and re-released on Cd by Dawn label (shouldn't be too difficult to hunt it down) this is one of the most accomplished prog-folk album ever. There are two singer , the female having a rather standard folk rock voice such as Celia Humphries (the Trees) or Jacqui McShee (Pentangle) and the male sounding like some kind of Roger Chapman of Family on acid. The lyrics are demonic (not satanic) and the poetry is as good as Gabriel or Tull's Tramp or Hastings but in a very dark way - but I would not classify this as gothic either. The music is very acoustical - one might say folkish without sounding celtic or country music. Somehow this escape real description unless by comparing to Trespass (Genesis) or a Trees album or maybe also Spirogyra's debut album St Radiguns . The violin is more of classic nature than celtic and the flute makes for an even more pastoral mood. The lyrics are in a sharp contrast to this pastoral feel and this is what makes it fabulous . Drip Drip and The Herald are pure "heavenly" chills down your spine, yelling for murder curses and other joyful christain things.
Stupendous and flabbergasting how this did not become huge back then, but one understand that the sheer quantity of quality records coming out in those years made that some disappeared without a trace as it is the case with this one. Whereas in the 80's the slightest average record might have been seen as excellent in a very mediocre mass production - this is why so many of that neo is so over-rated.
Anyway, if you must discover one album this year , make it this one!!!!!!!!
4 stars by maani (Ian Alterman)
Before I offer my own brief comments, here are some quotes from various web sites discussing the group: "Comus was one of England's underground bands that dealt with the folk revival from a psychedelic and classical perspective...employing viola, violin, flute, oboe, guitar and percussion." "Pastoral English folk." "One of a kind, and one of the most inventive and distinctive works to come out of the 70s progressive rock movement. A minor classic." "Vulnerable innocents face abusive power in songs about brutal murder mixed with Gothic eroticism ("Drip Drip"), Christian martyrdom ("The Bite") and mental illness ("The Prisoner"), all described with disturbing candor." One reviewer on another site said it reminded him of "a bunch of trolls dancing around in a forest, chanting and casting spells." I would have to agree with all of these quotes. I also agree completely with chantraine's review below, though I am not quite ready to call it a "masterpiece" and give it five stars. / Definitely miscategorized on this site, Comus was an early member of the Canterbury scene, contemporaneous with Jethro Tull (with whose earliest work they have much in common). Like chantraine, this album also reminded me alot of the album "Fearless" by Family (which featured a pre-Crimson John Wetton on bass). Ultimately, "First Utterance" is a fabulously creative album, especially given that it was written in 1970. (In fact, it is likely to have influenced Crimson's "Wake of Poseidon," "Lizard" and "Islands.") It is admittedly a bit weird at first listen, especially Wootton's vocals, since he uses all kinds of bizarre inflections and vocal tricks. However, once you "get it," this album immediately clings to you like a comfortable suit, and leaves you wondering why you never heard it before. It is instantly recognizable as prog in one of its earliest forms, and is a must-have for any serious collection of historical prog-rock.
3 stars by Bryan (Bryan Adair)
This album is like a combination of Trout Mask Replica, Aqualung and The Velvet Underground & Nico. It's a very haunting but also interesting collection of... stuff. The songs are extremely detatched and spooky. This sounds like one of those albums that would sound better while in an altered state. If you're open minded musically, you'll probably love this album, but it's certainly not for everyone.
5 stars by James Lee
All of my esteemed fellow reviewers have failed to provide one essential piece of information: what were they on when they made this album? It must have been excellent stuff, because mere creativity alone can't account for the warped genius displayed here (and after all, it was 1971). Listening to Wootton croak "Diana" as if deep in the throes of ancient grecian ecstasy and the lilting pagan-angelic harmonies of "The Herald" is enough to throw open the doors of perception for even the non- narcotic folks. I truly believe some, if not all of these musicians have glimpsed the beyond; all the later sci-fi epics of the progressive world pale in comparison to the pastoral but dangerous world supplied or implied in these works. What a different world ours was in 1971 to produce this band- the same year that saw the premiere of Jesus Christ Superstar and the verdict of the Manson family. How would Charles have interpreted the deliciously, salaciously evil "Drip Drip", or the bacchanalian "Song to Comus"? How much better would JCS have been with songs like "The Prisoner" telling the story? How many bad (or good) trips have been caused by this album? Not nearly enough, I'll wager, for few of the druggier people I've known have even heard of COMUS. I wonder if JANDEK listened to "First Utterance" and decided to try his own stripped- down version- a punk COMUS, if you will. My questions will likely never be answered, but in my perfect world everyone will hear "First Utterance" at least once. Actually, in my perfect world we'd all be in the park, naked and stoned and dancing to COMUS.
I'll add some quotes of my own to add to maani's collection:
"Lesser mystics than COMUS have inspired religions". "When the Merry Pranksters made their awful racket, this is what Neil Cassady secretly wished it sounded like". "This is what NPR bumper music would sound like if it was made by fornicating satyrs".
4 stars by Certif1ed (Mark)
Not quite a masterpiece of prog, IMO, as it is much closer to a folk-rock/psychedelic album than prog rock; You will find no symphonic leanings, no attempts to rock out, in fact little that says "prog" to you.
That said, this is incredible stuff, and if you are a fan of the INCREDIBLE STRING BAND or LOVE, or just after something rootsy and folky but with a much darker twist, then this is definitely for you!
I get the feeling that "First Utterance" is based on "A Maske" (Comus) by John Milton, and reading that poem will set the scene very well for this album, which would provide a good background for such a "Maske". Overall, the music has a sublime and crisp improvisatory feel, and if "World Music" is your bag, then this is a real find.
"Diana" seems to have taken the bass line from "We've Got To Get Out Of This Place" (The Animals, 1965) and mashed it up with manic vocals and odd orchestration, in which a slightly amateurish violin dominates. The vocals range from haunting female tones, similar to EMMA KIRKBY (singer of mediaeval music with am outstandingly pure tone) to male voices bleating like sheep and chanting like American Indians. The percussion generates a primitive beat that seems to resonate deep in the soul. Not exactly easy listening - but Comus maintain the intrigue and leave an open invitation to return to their music any time.
While "Diana" had some form of structure, "The Herald" appears to be attempting to obliterate form, and is broken down into three parts - only really identifiable by the long gaps between them. Each of the sections continues with musical material from the last and develops it, providing a high degree of satisfaction for the analytical, but also sustaining the improvisation, giving the open mind plenty to chew on. My only gripe with this track is that it maintains a somewhat basic 4/4, which makes it a little stodgy.
"Drip Drip" provides a new Flamenco feel, somewhere between ISB and Love. Powerfully enegetic and wild, the music builds up insanely towards a cooler centerpiece. The drama in the structure is natural and starkly rhythmic, with cool-downs and build-ups to drive the most successful orgy! Somehow the vocals remind me of Gabriel in places - but this is all good - very good!
Then it gets even better! "Song to Comus" is a finely crafted ode, with stunning instrumental and vocal arrangements. I won't compare this to anything - it's a unique little gem, worth buying this album for alone.
The follow-up, "The Bite", is a brief respite of sorts - intensely rhythmic with flute playing of the most exquisite beauty.
"Bitten" is a crashing atonal awakening from the respite, a breathtaking exercise in minimalism it seems to cram 30 minutes into a mere 2! Genius!!
Finally, "The Prisoner" is a kind of DAEVID ALLEN plays the blues, although I don't recall ALLEN using the Falmenco style in this fashion until "Now Is The Happiest Time Of Your Life". This moves into a major key, laid back section, somewhat reminiscent of "Grantchester Meadows" by PINK FLOYD, with dreamy vocals. I'll give no more away, except that this album exits on a high, and a literally "insane!" ending to what is quite a trip.
Excellent stuff and highly recommended for anyone with tastes that extend to the esoteric.
5 stars by proghead0
Another one of those albums that just amaze me. COMUS managed only two albums and then disappeared. "First Utterance" was their debut, originally released in 1971 on the Dawn label. They are often thought of as a folk-rock band, but there are major difference between COMUS and well-known acts as FAIRPORT CONVENTION or STEELEYE SPAN. Neither of those groups would create music so sinister, both in atmosphere and in lyrics. Neither would they have a vocalist who at times brings to mind Roger Chapman of FAMILY, or he decides to sing at a higher pitch, brings to mind Jerry Samuels (Napoleon XIV). And COMUS never touched on centuries old British Isles folk music or Celtic folk jigs and reels. The music of COMUS features way too many creative, twisted, and sometimes experimental passages to be called folk-rock, it's definately progressive enough to please prog rock fans. The band consisted of Roger Wootten on vocals and acoustic guitar, Glen Goring on guitar, Andy Hellaby on bass, Colin Pearson on violin, Rob Young on flute, and Bobbie Watson providing female vocals. Most everyone provides percussion (particularly bongos).
Not sure how to get about describing the songs. "The Herald" is by far the most mellow piece on the album, dominated by the vocals of Bobbie Watson. The song features extended use of electric guitar. "Drip Drip" is definately one of the album's high-points with extended and creative passages. "Song to Comus" is a bit shorted, but stuffed with lots of great violin and flute. This particular song reminds me of Family, especially because Roger Wootton sounds so much like Roger Chapman on this cut. The same goes for "The Bite" which is very much in a similar vein. "Bitten" is the only instrumental piece, basically an experimental cut that reminds me of what many Krautrock bands were doing at the same time. "The Prisoner" closes the album, another incredible piece. The British rock critics of the time hated the album. A postal strike in the UK at the time the album was released made it a bit difficult to hit the record stores. Even with David BOWIE giving this band support, didn't help. But still an amazing and twisted album. Not for everyone, but recommended for the more adventurous.
2 stars by Fitzcarraldo
In Greek mythology Comus, the god of revelry, is the son of Dionysos. Bacchus, the Roman equivalent of Dionysos, was worshipped with orgiastic and ecstatic rites. You might therefore think that the band’s name and the disturbing cover of this album are telling you something, and you’d be right.
The lyrics on this album are predominantly black and, in the case of three songs, contain more than a frisson of eroticism or sadism. I recall reading a book of short horror stories in my youth, one of the stories involving a young bride-to-be, a large copse of razor-thorny brambles and something from the crypt with virgins on its mind. I think Wootton must have read the same book! Actually, the poet Milton wrote a poem circa 1634 entitled ‘Comus: A Masque’, and this was no doubt the primary inspiration for this album.
Well, this all sounds very highbrow, but what of the progressive folk music on this album? I'm sorry to say that, despite the interesting – and sometimes tantalisingly disturbing – lyrics, I find it lacking.
‘Diana’ sounds like Marc Bolan met some hillbillies and Tim Burton on a dark night and decided to have a jam in the forest. Wootton’s warbling singing is not to my liking, but the bongos (or whatever they are) in the second half of the track are not bad in places, if rather odd with the ethereal female backing of Bobbie Watson and Pearson’s violin/viola. The bacchanalian theme of the lyrics is all too evident in the earthy tone and delivery of the piece.
‘The Herald’ has the same spooky type of feel at the start, with jew’s harp (slide?) over acoustic guitar and flute, but turns into a calm pleasant tune with violin and the ethereal (and this time more pleasing) ultra-high vocals from Watson. The acoustic guitar, viola, oboe and flute sound pleasant, I have to say. The high female vocalisations make it sound to me like 1960s middle-of-the-road pop backing music at this point (I don’t mean that in a derogatory way). Then the acoustic guitar comes in without the singing and this is certainly pleasing, as is the violin over the acoustic guitar and flute later in the track. Overall the piece is pleasing, but nothing extraordinary.
Again there is a hillbilly start with twangy acoustic guitar on ‘Drip Drip’. Wootton’s deranged singing jars on this track and I don’t care for it. And the bongos feel a bit out of place too. It’s not a bad track, but it’s no masterpiece either. The music even has a North African feel to it, which does not fit with the lyrics in my opinion. Viola/violin and the acoustic guitar give the piece some interest but to me the composition is not that sophisticated. The sawing violin over bongos finally gets really annoying, and eventually this track really gets on my nerves. The macabre lyrics are delicious, but I find the music does not do them justice.
‘Song To Comus’ starts with some nice repetitive acoustic guitar and flute, with bizarrely rendered vocals by Wootton. I like this track more. The singing – indeed the song – is reminiscent of JETHRO TULL. The music throughout the track is a bit samey, but the violin – again over bongos – is pleasing. Again the lyrics remind me of the horror story I read in my youth: “Hymen hunter, hands of steel, crack you open and your red flesh peel, Pain procurer, eyes of fire pierce your womb and push still higher, Comus rape, Comus break, sweet young virgin's virtue take, Naked flesh, flowing hair, her terror screams they cut the air.”
‘The Bite’ again uses odd male vocals with the ethereal female vocals warbling in the background. The main part of the sung tune I actually find quite good, but the vocalisations are tedious. Again the lyrics are morbid: this time about a martyr being hanged.
‘Bitten’ is a short, atmospheric instrumental with violin and cello (?). It conveys only bleakness to me.
A song in the first person about a paranoid schizophrenic, the bleak lyrics of ‘Prisoner’ are good, albeit disturbing in a different way. Again acoustic guitar with wailing violin in the background start the track. It then becomes more upbeat and even a pleasant tune for a while, but the tune takes a downturn, as the subject matter dictates. Unfortunately I just don’t like the singer’s voice on this track, mood or no mood. Strumming acoustic guitar, violin and bongos are again the staple.
In summary, then, to me musically this album is all right but certainly nothing special. The sometimes macabre and sometimes bacchanalian (or just deliciously evil) lyrics are well crafted and certainly evocative. But I can’t honestly say I even find the album good, so I’m going with 2 stars (Collectors/fans only). It’s just not my bag, I’m afraid. If you like acoustic guitar, violin, flute and bongos with rather repetitive compositions and ethereal female backing vocals with a weird male singer ranting on about bacchanalian rites, murder, insanity and something in the forest, then this may be your thing. I could listen to it again – I don’t find it that bad – but it’s just not the sort of thing I want to listen to again. If you’ve read Donna Tartt’s The Secret History, you’ll know the kind of feeling this album might evoke.
5 stars by jebarrie75
Comus´s debut album, "First Utterance" is a bizarre and surreal masterpiece. It sounds like nothing today, and probably did not sound like anything back in 1971. It does lean towards prog-folk, there are lots of acoustic instruments and medieval percussion, but it is certainly less Jethro Tull and more Pearls Before Swine jamming with Ammon Dull II in an obscure forest full of dark elves. The music flows in mysterious rhythms and time structures. This is an oeuvre without rules and thus the ultimate in prog. No pretentious epic storytelling here, just talented, creative folks having fun freaking each other out. A bagfull of the finest weed in the Shire is recommended when listening to this album but it is certainly not required.
2 stars by Easy Livin (Bob McBeath)
A strange one this. The music is at times charming and pleasant, and at other times aimless and dull.
Based primarily around acoustic guitar with violin and flute, there is a strong folk feel, the Incredible String Band coming to mind as an influence. The flute and acoustic guitar offers comparisons with Jethro Tull of course, but it is the vocals which really define the album. When Roger Wootton sings, it is as if Roger Chapman (Family) has entered the building. The contrast with the light female vocals which also feature, could not be starker.
"Diana" is an odd piece, which opens with both high pitched vocals and Japanese like chanting with jungle type drums. For me, it is not encouraging! Things settle down though, and "The Herald and "Drip Drip " flow well. These are light pieces, with excellent acoustic guitar.
The album then tends to drift along somewhat, never really getting going. It cries out for a bit of energy. This eventually come through towards the very end of the album on "The prisoner", but by then it's really too late. The absence of audible bass at times is noticeable, and something of a downside. The lyrics are much darker than the music tends to suggest, covering topic such as witchcraft sexual attack, and madness.
In all, I can't say I found an awful lot here to demand repeated listening. "First Utterance" is well performed but ultimately a tedious and lifeless piece. It does occasionally have pleasant guitar interludes, but they are all too infrequent.
The story behind the band is a bit more interesting. They hail from the same area of London, UK as David Bowie, whom they once supported. Their name is apparently taken from a character by epic poet Milton, who tries to persuade passing travellers to drink a potion, which makes them look like wild beasts! After recording one further album, Comus band split up, the current location of any of them apparently being something of a mystery.
4 stars by Trotsky (Martin Vengadesan)
At first, particularly on the opening track Diana, Comus can come off sounding like a malevolent version of Tyrannasaurus Rex (that's the predominantly acoustic duo that Marc Bolan led through four albums in the late 60s, before plugging into glam fame with the electrified T. Rex). It doesn't long however before you realise that Comus' madness is a truly unique experience. At times possessed of a warped pagan brillance and occasionally, just occasionally, too aimless for its own good, First Utterance is one of those records that simply everybody needs to listen to. There really is nothing else like it.
Despite its threatening theme (and First Utterance is full of macabre, occult-influenced themes) Diana is virtually the "pop" track on the album. It's followed by two lengthy laidback tracks. The Herald is eerie and meandering, and a listener can be lulled along by the delightful acoustic guitar work of Glenn Goring. It never gets that complex, but the arrangements are interesting and the blend of acoustic guitar, flutes and violins can be beautiful. The Herald seems to fall out in three separate yet intertwined parts and I swear there are times I hear some whirling harpie voices mixed in.
Indeed the vocal mix of Roger Wooton's piercing jarring voice and Bobbie Watson high and seemingly off-pitch counter melodies are a crucial aspect of Comus' sound. Drip Drip is the other lengthy, sparse song and it takes a while to become interesting. Despite a bluesy start it eventually settles into a frenzied gypsy jig, but it must be said that it doesn't pack half the power of the song that follows.
The undoubted highlight of this album is the stomping, spine-chilling Song To Comus. It is simply one of the greatest tracks I have ever heard. Every dynamic is perfection, from the opening acoustic guitar pick-up, Rob Young's darting flutes, the echoed twisted growling voices and perhaps most of all, the muscular violin work of Colin Pearson. Druidic pagan vibes abound! It is a song that totally rocks ... without any drums!
The Bite is inevitably a let-down, although it is thankfully a gradual one. It's not a bad folk song, and I actually get a Jethro Tull vibe on this one. Bitten is two minutes of hints and sound effects from bassist Andy Hellaby and Pearson and The Prisoner seems to be almost a little too cosy (in an Incredible String Band kind of way), only threatening to gather up steam from time to time.
To me, First Utterance is still one of the those must-listen albums. While I keep wishing that every song approached Song To Comus' quality, there's no doubt that it's all part of a cohesive, if somewhat disconcerting, whole. I have this vague image of myself wandering through an unfamiliar forest guided only by candlelight ... and then I hear Comus ... I'd better stop before I scare myself silly! ... 79% on the MPV scale
4 stars by NetsNJFan
Hmmm how to describe the wonderful sounds of Comus. First, leave all your preconceptions of what prog-folk is at the door please. This album is very far removed from the gentle folk of Gryphon, Tull or the Strawbs. This is an all-together different beast. Yes, a beast of an album, a persona it screams right form the get-go with it beastly cover. Comus' 1971 prog-folk masterpiece, "First Utterings" is probably one of the scariest albums you will ever listen too. Don't let the folk tag fool you, this is better described as the soundtrack playing in a maniac's schizophrenic head as he rapes and tortures victims in the forest. This almost completely acoustic album (full of violins, acoustic guitars, and oboes etc..) ranges from pastoral folk music to King Crimson like instrumental malevolence (but acoustic), all in the same song.
The album opens with the chilling pagan tribute to the Roman God "Diana". (Comus is in fact the name of another Greek God, and of a famous John Milton poem). The song features haunting, ethereal female chanting and high pitched male lead vocals, backed by bongo-like percussion and some gorgeous (if terrifying) violin work. The song, both musically and lyrically, really manages to capture the feel (I would assume) of a pagan festival/ritual on the dark moors of old England. A real masterpiece of a song, which sets the scary, yet beautiful mood of the album very quickly. "the Herald" is less enchanting then "Diana", but more traditional English-folk and has some truly beautiful moments in its rather scattered 12-minute duration. The song grows more frantic towards the end, but never builds to much, rather unfortunately. Comus are master of the slow buildup (like King Crimson), as you'll see later in the album. "Drip Drip" is the album's highlight in my opinion. Beginning with some laid back plucking, the song slowly builds up to an all out folk freak out. "Drip Drip" has the album's scariest lyrics, detailing a forest murder (with such lyrics as:
[i]"You dangling swinging / Hanging, spinning, aftermath / Your soft white flesh turns past me slaked with blood / Your evil eyes more damning than a demon's curse / Your lovely body soon caked with mud / As I carry you to your grave, my arms your hearse "[/i]
It also features a truly spine chilling 'chorus' in "Drip, Drip, The blood drips from you lip" or something like that. [Can't seem to find the lyrics online for this ultra-obscure album.]. The song is relatively simple and sparse musically, but perfect in execution, and is completely enthralling throughout its 11 minutes. The combination of ethnic drumming, propulsive acoustic guitar and frenzied violin truly sets a frightening mood. The album's next song, "Song to Comus" is the another huge album highlight, with beautiful flutes and guitar, yet the same chilling lyrics. This song is fitting tribute to their patron God, Comus, and is their most complete and advanced composition on the album. Once again, they brilliantly repeat very similar musical themes (mainly on violin), but it is not at all boring, but quite hypnotic. While the lyrics of "Drip, Drip" detail a murder, this song seems to tell the tale of the rape that preceded it. "The Bite" is not as enthralling as the previous 4 tracks, as it lightens the mood a bit, and the high- pitched leprechaun-ish vocals border on silly in retrospect. However, it is an enjoyable song on the whole. The lyrics are once again macabre, telling of the hanging of a Christian male. (I guess they decided to change the victim, as they were getting a bit fixated on the violence against women - even if it is the main thrust of the album conceptually).
The album has three bonus tracks: "Bitten" is a simple two minute exercise in dissonance. The piece has distinctly Kraut-rock feel to it, but they exercise discretion admirably, giving this piece the brief two minutes it deserves, for effect. "The Prisoner", with very beautiful female vocals is more akin to traditional english-folk and is a very pretty, if incosistent, song. The song has a great frantic ending like many of their tracks, with screamed vocals bouncing from speaker to speaker. "The Lost Queen's Eyes" is definately the prettiest song on the album, and is a short, beautifyul folk song with georgeous female vocals again, (a nice rest from the strained male vocals earlier). These three songs do not quite fit in thematically with the rest of the album, and it is easy to see why they were cut initially. They are, however, quite good if different.
I admit, this album scares me. It is unlike anythign anyone has made before, with its gothic, pagan feel and truly lurid and grotesque lyrics. The album alternately desribes rape, murder, mental illness and martyrdom, with shocking lyrics not elsewhere seen in prog. An easy 4 stars. This album is excellent on the whole, and accomplishes what is sets out to do. Not at all reccommended to prog newbies, but fans of english- folk, progressive-folk and prog-folk will adore this obscure masterpiece. The darker side of folk is rarely (if ever) tested, and hats off to Comus for a thrilling trip through it.
After that altogether harrowing album listen, I think I'll return to the gentler confines of "The Strawbs" and "Gryphon" for a much needed rest. Everyone else, simply enjoy.... but not in the dark.
5 stars by bill
I'm no prog expert. I lean more toward metal, genre-bending metal in particular ala Melvins, but I'm interested in hearing anything original, adventurous and disturbing. That said, ever since I got First Utterance, on the ecstatically disturbed recommendation of Aquarius records, I have been listening to it obsessively, and cannot stop thinking about it. It may not be genius but it is utterly original, brave and uncompromising. A pastoral vision encompassing surpassing loveliness and shocking horror would be my blurb. After 20 listens I still cringe at the drop in temperature in the middle of Diana, and the imagery of muddy skin in Drip Drip inspires waking nightmares. Looking at the negative posts above, I wonder how anyone with an imagination could give this a bad review. First Utterance is a touchstone vfor judging any music attempting to push an envelope.
3 stars by Carl floyd fan (carl)
If King Crimson had decided to go folk in the early 70s they may have sounded a lot like this. This is a very unique cd. Though the vocals tend to hurt the overall feel. They sometimes sound like demented dwarves or constipated elves. This is defiantly a halloween cd and I could picture someone playing this deep in the woods while performing super natural deeds. Musically, this sounds a little fragmented and doesn't always have a nice flow. There are some pleasant passages interupted by complete weirdness. But overall, it isn't anything virtouso, just unique in the approach. Good ideas, average execution. David Bowies seemed to have loved this cd by the way.
5 stars by Kcrimson (brian)
i made sure to make this the first album i reviewed on progarchives, for good reason. 'first utterance' is truly a one of a kind album. it's like nothing you've ever heard before. interestingly, there is no use of a modern drum kit, but rather hand drums, which goes along perfectly with the acoustically guitar driven music. the vocals are quite eccentric, rotating between a manical, but awesome, male's voice, to a beautiful sounding woman's. i'm generally a person who doesn't give a [&*!#] about lyrics, if i even know them at all, but in this case, the lyrics are something to listen to. they're pretty messed up! songs about raping a woman, anti-religious, being a prisoner, etc. if you want to expand your horizon of music, check this band out, generally dubbed as 'acid folk,' deservingly so. best track = drip, drip
4 stars by steelyhead
This is exactly what I like from Prog music: It´s inexpectancy. You are always wondering about the music you are about to hear and in the case of this band you are clearly not prepared to this wall of sound with not one but two singers and boy the music is so strange it hurts. The only regret I have now that I am old is that I never tried drugss on my life, next time I¨ll start early doing them and this will be my soundtrack. Drip Drip is a really gothic song and Diana has everything you need to like this group. Go get it.
4 stars by phillipthomas
I first bought this album back in the early seventies and forgot all about it until finding the link/download on this site. I listened to Song to Comus and realised what I have been missing in the intervening years. So I bought the CD, who knows what happens to all the old LPs we bought in the past?
On listening to the whole CD I recalled what a gem this is. As anyone who listens to it will will realise it is a mixed bag with Diana, Drip Drip and Song to Comus as being the ones that stand out. Undoubtedly hints of Family and even the Edgar Broughton Band.
Undoubtedly it is not to everyones taste but I can't get the songs out of mind, which is impressive bearing in mind that some of the lyrics are hard to follow.
Sadly the three bonus tracks, other than the single version of Diana, seem plain boring in comparison with the original tracks, but hey you don't have to listen to them! On the whole a brillant album but if anyone says they don't like it, I think I can understand their point of view. Definitely not everyones taste but the same applies to the vast majority of my music collection.
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Rateyourmusic.com by rockingmonk
I first became aware of Comus in the mid 90s, when this album was first released on CD and Record Collector reviewed the reissue. Back then it was classed as a folk-prog curio, which was enough to tweak my interest. Over the following months I kept an eye out for it and finally found a copy for £30. I was curious, but not that curious.
Years later, when I stumbled upon the hallowed grounds of RYM, I checked out the reviews for First Utterance and I was pleased to see that it was a much loved album, however the repeated use of the word 'weird' to describe it started ringing alarm bells with me. First Utterance has now reached a point where it is now seen as a badge of honour among not only fans of prog-rock, but music fans in general, to the point where the cult of listening to the album has started to overshadow the actual music.
For an album so frequently described as 'weird' I actually find First Utterance oddly familiar. It's chattering hand-drums and it's overall organic feel put it at odds with the majority of what most people would call prog-rock, indeed despite its adventurous song-structures, there seems little of the inflated pomposity and over-indulgence which can blight prog-rock. That said there's little commercial potential within Comus's music, with only "Diana" approaching something that might possibly approach radio-play and it's probably this fact which has so delighted 'the cool police' in recent years and has allowed the albums cult-following to expand so dramatically over the last decade.
When it was released back in 1971 First Utterance was probably a shock to the system, with anyone listening to lyrics like
"I was unwell, and was admitted for treatment at a hospital for the mentally sick" probably putting Comus in a draw marked 'Warning Lunatics At Large'. Since then though the average music fans tastes have become much more diverse and open to all manner of influences, particularly over the last decade and a half with more and more archive and / or little heard material becoming available to a larger audience via the internet, so much so that an album which was once as weird and uneasy as First Utterance has lost its shock value and can now be best described as an enjoyable curio.
Musically there is much to enjoy within this albums run-time, with its wonderful use of strings and flute. The acoustic guitar work recalls a slightly more flamboyant Ian Anderson of Jethro Tull and the male / female vocal interplay also marks it out as unique within the realms of prog (still very much a boys-club back in the early 70s). Granted there are moments during the album that you seem to have stumbled into the middle of a pagan festival, but on the whole this is an album that is best listened to through headphones when you're wandering around your local woods on a frosty spring morning.
Rated: 4.00 stars
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