Love Coma

Item: Language of Fools
Author: Beth Blinn

Language of Fools

(1995)

Reviewed by Beth Blinn

Discogs Bandcamp Apple Music

Label R.E.X. MusicThe LighthouseSeptember 1995

alternative rock blues rock roots rock

For anyone who was lucky enough to get their hands on a copy of Love Coma's first release, Soul Rash, their newest production will be something of a shock. A lot has happened since that collection of songs was conceived.

The recording, originally intended as a bunch of demos, was released by Etcetera Records through its distribution agreement with REX after the group made a splash at the New Band Showcase at Cornerstone. While it was not top-notch studio quality, its fresh sound and raw energy more than made up for the lack of professionalism. A buzz started up about the San Antonio band's potential.

Then Matt Slocum, whose guitar playing had a lot to do with the group's tone, left to concentrate on his other effort, Sixpence None The Richer, and the band spent some time auditioning new guitarists, eventually connecting with Chris Mattingly. Meanwhile, Love Coma was also shopping for a record deal. In due time, things came back to REX, who signed the band directly to the label early this year.

Which brings us back to the matter at hand-the new release. Language of Fools does share some things in common with the first disc-mainly lead singer Chris Taylor's impassioned vocals and poetic, pointed lyrics. Beyond that, between the stylistic changes wrought by a new guitarist and growth that the group has shown as musicians, coupled with the production direction of Mike Roe, it almost sounds like a new band.

But what a band it is. The group has moved somewhat from the atmospheric, swirling sounds of Soul Rash, and headed more towards the rock arena, with some blues, pop, alternative and even slight country leanings. As a whole, it's more organic and accessible. Roe's hand in producing is most evident in a few tracks that hark back to early-to-mid 80's 77's work in their energy and vibe, including the relentless rhythms of "Kill My Inspiration" and "Speak Of The Devil," the latter of which starts out with a spooky laugh reminiscent of that celebrated band's "You Don't Scare Me" (which dealt with similar subject matter).

While their influences are sometimes evident, they are never overwhelming, as Love Coma manages to forge their own brand of rock and roll. Mattingly fills the shoes of Slocum more than adequately. The musical tension created between Mattingly, bassist Jeff Duncan, and drummer Chris Dodds makes a taut backdrop for Taylor's emotional vocals. Taylor lives inside his lyrics-there's no mistaking the performances here for window dressing. Whether it's a near-wail or a near-whisper, Taylor sometimes bears a resemblance to Bono in vocal intensity, especially on "Between He And She."

The album kicks off with the rock and roll onslaught of "Entertainment Tonight," "Walk In The Rain," and "Selfless." They mix up the tempos, however, with "Jigsawman," a raw, bluesy piece and "She Was," which has a slight country flair to it.

"Summerwind" is closer to older Love Coma material than anything else on this record. It has more of that atmospheric sound of the last disc, and the rhythm flows, rather than pounding out a more emphatic beat. One of my favorite cuts, "Wednesday," is an acoustic-based tune that has some nice percussion work. The "official" part of the album ends with the Byrds-toned "Tomorrow Takes Too Long."

There is a hidden song on the CD. Located on track 77 (another homage?) is a mid-tempo tune that has some really nice guitar work.

Lyrically, Taylor addresses subjects both spiritual and human, often combining both in the same song. (Which is really how life is, isn't it? The two are rarely separated.) Usually not totally straight-forward on any topic, they provoke the listener to do a little searching-that is, if the listener wants to understand what Taylor is talking about. Lyrics are only provided for "Entertainment Tonight;" the rest must be sent for. (Yet another similarity to the 77's!) No matter, it's worth the effort, though Taylor's diction is usually able to be understood.

An album that is sure to bring a lot more well-deserved attention to these Texans, Language of Fools is definitely on my Top Ten list for 1995.