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| Sounds like Tangerine Dream stuck in a cave, playing their hearts out in the hope that a stranger might walk by. But no one does. Not for 47 years. And they play on and on, lost in themselves, the cave, wondering where the power supply has been coming from for all these long years, but happy that the synth and guitar are PLUGGED IN. | |
"some mysterious maniacs exhibit a swoozy command of daydreamed drool-tone with blackmetal mantra vibes." | |
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| In Comoros, different instruments, people and songs are all forced to follow the same path. Everything weaves and twines its way through effects and delay. Consolidating all of the sounds that way gives singularity to all of the instruments that would otherwise be hard to follow. It creates a rhythmic structure that propels the songs along stretches of drone, where patterns can emerge out of chance musical collisions. The idea is that an out of key note played once is jarring, listening to it delayed, looped and slowly building turns that same note into something familiar that you can anticipate. | |
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| "This all started as a way to mess around when we weren't in the mood to write songs, or bother with multi-tracking. Turns out, not only is it really fun, but it also sounds bigger and better than we thought it would. Very quickly we started spending more time as Comoros and less time working on other projects. Making the LP sealed the deal, Comoros is our band." | |
| The instruments are less important than the effect chain, but the usual configuration is: Jennifer Melinn: Roland Juno-6, Bass Adam Melinn: Guitars, delay engineer |
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