Chords for Coma Cinema- Blue Suicide ALBUM REVIEW
Tempo:
119.8 bpm
Chords used:
C
F#
Am
F
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey guys, Anthony Fantano here, the Internet's busiest music nerd here.
It's time for an album review and, you know, this week I've just been burning the candle
at both ends.
I've been getting like no sleep ever.
So I'm going to try to hurry through this, do a concise review, and get to bed.
So, we're going to review the new Coma Cinema LP, Blue Suicide.
Coma Cinema is the project of Matthew Cothran, a South Carolina singer-songwriter.
This is his third LP.
So to put it simply, what we're talking about on Blue Suicide is a heap of sad, sorry songs
in desperate need of antidepressants.
And part of me would, and there is a part of me that when I listen to this I kind of
feel like glossing over it and saying, eh, another bedroom record.
But this album has too much sincerity and personality for me to completely ignore it.
No matter what genre of music I'm listening to, that's what I'm looking for.
I'm looking for sincerity.
I'm looking for personality.
I'm looking for something I can get to know.
Too often people just kind of pick up a guitar and then choose two chords and then sing,
you know, some words about hearts and relationships and sadness.
If there's any kind of sadness, I, it's fake sadness.
It's hey, let's be sad kind of sadness.
I can smell that crap from a mile away.
It smells like a Grand Central Station bathroom.
Thankfully, this record will clear that smell out of any room like a Glade plug-in.
And even though the production on this LP can be pretty underwhelming, maybe it's not
all that fantastic, the emotions come off strong.
And it's not like Matt is having a freaking nervous breakdown on this record.
If this album is on the verge of that, it's a quiet one.
And the lyrics kind of let onto that a little bit.
Like on the song Hell where he says, the only permanent thing about true love is the pain
you feel when it's gone.
And the mantra on greater vultures, if you're willing to eat what the vultures are not.
Honestly, Matt's words, I feel, are the best and most consistent thing this album has going for it.
Because even when a song is short-winded or kind of half-baked musically or structurally,
Matt always has something dark or funny to say.
He's just like a little Simon Joyner.
It's so cute.
I love it.
I still kind of wish tracks like Caroline, Please Kill Me were a little longer, kind
of went the distance, really fleshed themselves out.
But I guess the silver lining to that cloud is that not much on this album is really going
to overstay its welcome.
And I know personality-wise I made a comparison to Simon Joyner, but sound-wise, this thing
is totally, totally Elliot Smith.
Early Elliot Smith with the really understated, almost whisper-quiet, doubled-up and mic'd closely vocals.
Meanwhile, the guitars and the keyboards are pretty understated, so are the drums.
There are only several tracks here that really get loud and kind of exciting.
And even though this thing does remain kind of, you know, down here in terms of volume,
not up here, the instrumentation varies a lot on this thing, with acoustic guitar, bass,
piano, organ, a little bit of violin I think I heard on here, tambourine, drum machine,
a lot of reversed electric guitar leads too.
It's one of those records that does a lot with little, and I like that.
Some of the sounds get a little muddy sometimes, some of the sounds bleed into each other,
but it's not like the slightly lo-fi sound of this LP detracts from the music all that much.
The album is a little spotty though, honestly, because of just the variations between these
tracks in terms of length, message, mood, instruments, melodies.
Even though Matt does prove himself to be pretty versatile and pretty resourceful on
this thing, there are highs and lows.
Thankfully, I felt like there were more highs.
I love a lot of tracks on this thing, like Crystal Ball, Vultures, the title track, Business
as Usual 2.
The album is free on Matt's website, so download it, pick your favorites, and if you love it,
pick up the tape or the vinyl.
I'm feeling a decent 7, to a light 7, I guess, on this.
It's pretty good.
Pretty good.
And now that this is over, I'm gonna go to bed.
Cal, [F#]
could you turn off the light?
Thank [C] you.
Forever.
[Am] [F]
[G] [C]
It's time for an album review and, you know, this week I've just been burning the candle
at both ends.
I've been getting like no sleep ever.
So I'm going to try to hurry through this, do a concise review, and get to bed.
So, we're going to review the new Coma Cinema LP, Blue Suicide.
Coma Cinema is the project of Matthew Cothran, a South Carolina singer-songwriter.
This is his third LP.
So to put it simply, what we're talking about on Blue Suicide is a heap of sad, sorry songs
in desperate need of antidepressants.
And part of me would, and there is a part of me that when I listen to this I kind of
feel like glossing over it and saying, eh, another bedroom record.
But this album has too much sincerity and personality for me to completely ignore it.
No matter what genre of music I'm listening to, that's what I'm looking for.
I'm looking for sincerity.
I'm looking for personality.
I'm looking for something I can get to know.
Too often people just kind of pick up a guitar and then choose two chords and then sing,
you know, some words about hearts and relationships and sadness.
If there's any kind of sadness, I, it's fake sadness.
It's hey, let's be sad kind of sadness.
I can smell that crap from a mile away.
It smells like a Grand Central Station bathroom.
Thankfully, this record will clear that smell out of any room like a Glade plug-in.
And even though the production on this LP can be pretty underwhelming, maybe it's not
all that fantastic, the emotions come off strong.
And it's not like Matt is having a freaking nervous breakdown on this record.
If this album is on the verge of that, it's a quiet one.
And the lyrics kind of let onto that a little bit.
Like on the song Hell where he says, the only permanent thing about true love is the pain
you feel when it's gone.
And the mantra on greater vultures, if you're willing to eat what the vultures are not.
Honestly, Matt's words, I feel, are the best and most consistent thing this album has going for it.
Because even when a song is short-winded or kind of half-baked musically or structurally,
Matt always has something dark or funny to say.
He's just like a little Simon Joyner.
It's so cute.
I love it.
I still kind of wish tracks like Caroline, Please Kill Me were a little longer, kind
of went the distance, really fleshed themselves out.
But I guess the silver lining to that cloud is that not much on this album is really going
to overstay its welcome.
And I know personality-wise I made a comparison to Simon Joyner, but sound-wise, this thing
is totally, totally Elliot Smith.
Early Elliot Smith with the really understated, almost whisper-quiet, doubled-up and mic'd closely vocals.
Meanwhile, the guitars and the keyboards are pretty understated, so are the drums.
There are only several tracks here that really get loud and kind of exciting.
And even though this thing does remain kind of, you know, down here in terms of volume,
not up here, the instrumentation varies a lot on this thing, with acoustic guitar, bass,
piano, organ, a little bit of violin I think I heard on here, tambourine, drum machine,
a lot of reversed electric guitar leads too.
It's one of those records that does a lot with little, and I like that.
Some of the sounds get a little muddy sometimes, some of the sounds bleed into each other,
but it's not like the slightly lo-fi sound of this LP detracts from the music all that much.
The album is a little spotty though, honestly, because of just the variations between these
tracks in terms of length, message, mood, instruments, melodies.
Even though Matt does prove himself to be pretty versatile and pretty resourceful on
this thing, there are highs and lows.
Thankfully, I felt like there were more highs.
I love a lot of tracks on this thing, like Crystal Ball, Vultures, the title track, Business
as Usual 2.
The album is free on Matt's website, so download it, pick your favorites, and if you love it,
pick up the tape or the vinyl.
I'm feeling a decent 7, to a light 7, I guess, on this.
It's pretty good.
Pretty good.
And now that this is over, I'm gonna go to bed.
Cal, [F#]
could you turn off the light?
Thank [C] you.
Forever.
[Am] [F]
[G] [C]
Key:
C
F#
Am
F
G
C
F#
Am
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Hey guys, Anthony Fantano here, the Internet's busiest music nerd here.
It's time for an album review and, _ you know, this week I've just been burning the candle
at both ends.
I've been getting like no sleep ever.
So I'm going to try to hurry through this, do a concise review, and get to bed.
So, we're going to review the new Coma Cinema LP, Blue Suicide.
Coma Cinema is the project of Matthew Cothran, a South Carolina singer-songwriter.
This is his third LP.
So to put it simply, what we're talking about on Blue Suicide is a heap of sad, sorry songs
in desperate need of antidepressants.
And part of me would, and there is a part of me that when I listen to this I kind of
feel like _ glossing over it and saying, eh, another bedroom record.
But this album has too much sincerity and personality for me to completely ignore it.
No matter what genre of music I'm listening to, that's what I'm looking for.
I'm looking for sincerity.
I'm looking for personality.
I'm looking for something I can get to know.
Too often people just kind of pick up a guitar and then choose two chords and then sing,
you know, some words about hearts and _ relationships and sadness.
If there's any kind of sadness, I, _ _ _ _ it's fake sadness.
It's hey, let's be sad kind of sadness.
I can smell that crap from a mile away.
It smells like a Grand Central Station bathroom. _
Thankfully, this record will clear that smell out of any room like a Glade plug-in.
And even though the production on this LP can be pretty underwhelming, maybe it's not
all that fantastic, the emotions come off strong.
And it's not like Matt is having a freaking nervous breakdown on this record.
If this album is on the verge of that, it's a quiet one.
And the lyrics kind of let onto that a little bit.
Like on the song Hell where he says, the only permanent thing about true love is the pain
you feel when it's gone.
And the mantra on greater vultures, if you're willing to eat what the vultures are not.
Honestly, Matt's words, I feel, are the best and most consistent thing this album has going for it.
Because even when a song is short-winded or kind of half-baked musically or structurally,
Matt always has something dark or funny to say.
He's just like a little Simon Joyner.
It's so cute.
I love it.
I still kind of wish tracks like Caroline, Please Kill Me _ _ were a little longer, kind
of went the distance, really fleshed themselves out.
But I guess the silver lining to that cloud is that not much on this album is really going
to overstay its welcome.
And I know personality-wise I made a comparison to Simon Joyner, but sound-wise, this thing
is totally, totally Elliot Smith.
Early Elliot Smith with the really understated, almost whisper-quiet, doubled-up and mic'd closely vocals.
Meanwhile, the guitars and the keyboards are pretty understated, so are the drums.
There are only several tracks here that really get loud and kind of exciting.
And even though this thing does remain kind of, you know, down here in terms of volume,
not up here, the instrumentation varies a lot on this thing, with acoustic guitar, bass,
piano, organ, a little bit of violin I think I heard on here, tambourine, drum machine,
a lot of reversed electric guitar leads too.
It's one of those records that does a lot with little, and I like that.
Some of the sounds get a little muddy sometimes, some of the sounds bleed into each other,
but it's not like the slightly lo-fi sound of this LP detracts from the music all that much.
The album is a little spotty though, honestly, because of just the variations between these
tracks in terms of length, message, mood, instruments, melodies.
Even though Matt does prove himself to be pretty versatile and pretty resourceful on
this thing, there are highs and lows.
Thankfully, I felt like there were more highs.
I love a lot of tracks on this thing, like Crystal Ball, Vultures, the title track, Business
as Usual 2.
The album is free on Matt's website, so download it, pick your favorites, and if you love it,
pick up the tape or the vinyl. _ _
I'm feeling a decent 7, to a light 7, I guess, on this.
It's pretty good.
Pretty good.
And now that this is over, I'm gonna go to bed. _ _
_ _ _ _ _ _ Cal, _ [F#] _ _ _ _ _ _
could you turn off the light? _ _ _ _ _
_ _ _ _ _ Thank [C] you.
_ _ _ _ Forever. _ _
_ [Am] _ _ _ _ [F] _ _ _
_ _ [G] _ _ _ _ _ [C] _
_ _ _ _ _ _ Hey guys, Anthony Fantano here, the Internet's busiest music nerd here.
It's time for an album review and, _ you know, this week I've just been burning the candle
at both ends.
I've been getting like no sleep ever.
So I'm going to try to hurry through this, do a concise review, and get to bed.
So, we're going to review the new Coma Cinema LP, Blue Suicide.
Coma Cinema is the project of Matthew Cothran, a South Carolina singer-songwriter.
This is his third LP.
So to put it simply, what we're talking about on Blue Suicide is a heap of sad, sorry songs
in desperate need of antidepressants.
And part of me would, and there is a part of me that when I listen to this I kind of
feel like _ glossing over it and saying, eh, another bedroom record.
But this album has too much sincerity and personality for me to completely ignore it.
No matter what genre of music I'm listening to, that's what I'm looking for.
I'm looking for sincerity.
I'm looking for personality.
I'm looking for something I can get to know.
Too often people just kind of pick up a guitar and then choose two chords and then sing,
you know, some words about hearts and _ relationships and sadness.
If there's any kind of sadness, I, _ _ _ _ it's fake sadness.
It's hey, let's be sad kind of sadness.
I can smell that crap from a mile away.
It smells like a Grand Central Station bathroom. _
Thankfully, this record will clear that smell out of any room like a Glade plug-in.
And even though the production on this LP can be pretty underwhelming, maybe it's not
all that fantastic, the emotions come off strong.
And it's not like Matt is having a freaking nervous breakdown on this record.
If this album is on the verge of that, it's a quiet one.
And the lyrics kind of let onto that a little bit.
Like on the song Hell where he says, the only permanent thing about true love is the pain
you feel when it's gone.
And the mantra on greater vultures, if you're willing to eat what the vultures are not.
Honestly, Matt's words, I feel, are the best and most consistent thing this album has going for it.
Because even when a song is short-winded or kind of half-baked musically or structurally,
Matt always has something dark or funny to say.
He's just like a little Simon Joyner.
It's so cute.
I love it.
I still kind of wish tracks like Caroline, Please Kill Me _ _ were a little longer, kind
of went the distance, really fleshed themselves out.
But I guess the silver lining to that cloud is that not much on this album is really going
to overstay its welcome.
And I know personality-wise I made a comparison to Simon Joyner, but sound-wise, this thing
is totally, totally Elliot Smith.
Early Elliot Smith with the really understated, almost whisper-quiet, doubled-up and mic'd closely vocals.
Meanwhile, the guitars and the keyboards are pretty understated, so are the drums.
There are only several tracks here that really get loud and kind of exciting.
And even though this thing does remain kind of, you know, down here in terms of volume,
not up here, the instrumentation varies a lot on this thing, with acoustic guitar, bass,
piano, organ, a little bit of violin I think I heard on here, tambourine, drum machine,
a lot of reversed electric guitar leads too.
It's one of those records that does a lot with little, and I like that.
Some of the sounds get a little muddy sometimes, some of the sounds bleed into each other,
but it's not like the slightly lo-fi sound of this LP detracts from the music all that much.
The album is a little spotty though, honestly, because of just the variations between these
tracks in terms of length, message, mood, instruments, melodies.
Even though Matt does prove himself to be pretty versatile and pretty resourceful on
this thing, there are highs and lows.
Thankfully, I felt like there were more highs.
I love a lot of tracks on this thing, like Crystal Ball, Vultures, the title track, Business
as Usual 2.
The album is free on Matt's website, so download it, pick your favorites, and if you love it,
pick up the tape or the vinyl. _ _
I'm feeling a decent 7, to a light 7, I guess, on this.
It's pretty good.
Pretty good.
And now that this is over, I'm gonna go to bed. _ _
_ _ _ _ _ _ Cal, _ [F#] _ _ _ _ _ _
could you turn off the light? _ _ _ _ _
_ _ _ _ _ Thank [C] you.
_ _ _ _ Forever. _ _
_ [Am] _ _ _ _ [F] _ _ _
_ _ [G] _ _ _ _ _ [C] _