Like a particular viral YouTube clip of a wedding band’s drummer playing like he’s in the wrong band, Comatease’s woozy jazzy bass feels like it’s from a different tune to the rest of band on the ‘Siren’ EP. In this instance the bass would have been better served as the throbbing engine behind each song, but it’s totally out of whack with the vibe of the EP.
It feels like a rookie mistake and then you realise that the members of Comatease are only fifteen. It’s perfectly understandable that such a misstep was made. No one can question Comatease’s eagerness to go out and do it, but on the basis of the ‘Siren’ EP perhaps a more experienced guiding hand is required to show them how to translate their songs to the recording process.
The mixing of the ‘Siren’ EP is flawed and while it is supposed to be a finished product, more seasoned bands would regard this as a very raw demo. That’s an issue which is clearly audible when the bass gets periodically drowned out by the lead guitar, giving parts of the songs a very shallow feeling.
This affects each of the individual songs. For example, the opening bars of False Sanity lack clarity and the entire track feels muddied. It’s not all bad as the last minute of False Sanity shows that Comatease have an imagination and decent ideas where it deviates from being a fairly typical rock verse/chorus/verse song into something more prog rock.
Anger Orchard, Blinded and Bound and Depictions could have done with being trimmed by a minute or so as they do meander on a bit too long. It’s one thing learning to play your instruments and take the first tentative steps in writing some songs, but it’s another learning how to record them. The end result is that the recording of the Siren EP hasn’t shown Comatease in the best light possible and they are probably a better band than this. That’s a lesson that the Comatease lads will have to learn over time.