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viewing 1 To 15 of 15 items
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2x10"+CD
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KOM 335LP
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180-gram double 10" version. Includes CD. Tackling the challenge of a second album head-on, Coma return to the fore with This Side of Paradise, a comprehensive and meticulously-arranged collection that never strays far from the duo's well-established modus operandi. This Side of Paradise is truly refined pop music that takes its cues from both sides of the musical fence. A further exploration and expansion of the territory initially explored on Coma's first full-length, In Technicolor (KOMP 106CD/KOM 279LP, 2013), This Side of Paradise shows the artists commanding their craft with confidence and style -- a sonic treat for seasoned connoisseurs and recent scholars alike. Sometimes described as songwriters who don't actually write songs, Coma tend to nudge the genre-boundaries without making this their central artistic statement -- they're not in the game to search and destroy, but to meet and seduce, in a constant effort to make music that is as innovative and multilayered as it is accessible. It's an endless process of reevaluating their own tropes that leads the duo to the unconventional but immensely catchy hooks on tracks like "Borderline," "Pinguin Power," and "Happiness," half-sung and half-synthesized. Coma don't want to settle on whether they actually are a dance act or a pop outfit: "We always try to rethink what we're doing. At one point we even thought about dropping the melodies altogether, because melodic techno has become kinda prevalent. But that wouldn't be us either -- we love a good melody as much as the next person." The receptiveness for cognition glitches and happy accidents might be behind Coma's obvious penchant for cooperation; This Side of Paradise's most classic songwriting appears on "The Wind," a dreamy, melancholic, downbeat gem featuring vocals from frequent collaborator Dillon. Meanwhile, another old friend has switched roles: Mit's lead singer Edi Winarni returns after his cameo on In Technicolor, but this time he's responsible for the cover art, based on his own sculptural work and created from archetypes of bird beaks in front of a heavily processed white screen. It asks basically the same question that the band does: how much beak do you need to recognize the bird? How much melody do you need to be pop? How many beats until you're part of the club continuum? Coma's true achievement might be in asking themselves these kinds of critical, potentially thwarting questions, but still remaining able to produce beautiful music that speaks to both the body and the soul.
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CD
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KOMP 126CD
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Tackling the challenge of a second album head-on, Coma return to the fore with This Side of Paradise, a comprehensive and meticulously-arranged collection that never strays far from the duo's well-established modus operandi. This Side of Paradise is truly refined pop music that takes its cues from both sides of the musical fence. A further exploration and expansion of the territory initially explored on Coma's first full-length, In Technicolor (KOMP 106CD/KOM 279LP, 2013), This Side of Paradise shows the artists commanding their craft with confidence and style -- a sonic treat for seasoned connoisseurs and recent scholars alike. Sometimes described as songwriters who don't actually write songs, Coma tend to nudge the genre-boundaries without making this their central artistic statement -- they're not in the game to search and destroy, but to meet and seduce, in a constant effort to make music that is as innovative and multilayered as it is accessible. It's an endless process of reevaluating their own tropes that leads the duo to the unconventional but immensely catchy hooks on tracks like "Borderline," "Pinguin Power," and "Happiness," half-sung and half-synthesized. Coma don't want to settle on whether they actually are a dance act or a pop outfit: "We always try to rethink what we're doing. At one point we even thought about dropping the melodies altogether, because melodic techno has become kinda prevalent. But that wouldn't be us either -- we love a good melody as much as the next person." The receptiveness for cognition glitches and happy accidents might be behind Coma's obvious penchant for cooperation; This Side of Paradise's most classic songwriting appears on "The Wind," a dreamy, melancholic, downbeat gem featuring vocals from frequent collaborator Dillon. Meanwhile, another old friend has switched roles: Mit's lead singer Edi Winarni returns after his cameo on In Technicolor, but this time he's responsible for the cover art, based on his own sculptural work and created from archetypes of bird beaks in front of a heavily processed white screen. It asks basically the same question that the band does: how much beak do you need to recognize the bird? How much melody do you need to be pop? How many beats until you're part of the club continuum? Coma's true achievement might be in asking themselves these kinds of critical, potentially thwarting questions, but still remaining able to produce beautiful music that speaks to both the body and the soul.
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12"
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KOM 333EP
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Lead single from Coma's 2015 second album This Side of Paradise (KOMP 126CD/ KOM 335LP), a truly refined electronic pop gem from artists commanding their craft with confidence and style, once again proving their knack for unconventional but immensely catchy hooks that seem half-sung, half-synthesized. Hivern Discs' Pional dials back the dreamy synthesis of "Lora" and opts for a sturdier, drum-driven build. Seasoned producer Robag Wruhme lets the beat breathe before hitting the floor with all the melodic might from the original; it's a masterful and highly detailed club cut that fuses the eccentric pop quirks of Coma with his own sonic sensibilities.
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12"
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KOM 299EP
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Coma returns to the fore with Atlantis, another yummy slice of catchy dancefloor bliss and a persuasive testament to the seemingly infinite willingness of the Cologne-based duo to explore the whole gamut of electronic pop music. The title-track is a particularly swinging neo-disco opus, brimming with funky hooks and romantic synth pads. "Maelstrøm" continues that trend in spectacular fashion, reinforcing the funk elements and vibing hard with the imaginary soundtrack to your favorite '70s vintage cop show, finely seasoned with a hint of acid. Closing track "Blueprint" dials back the cliffhangers and aims for a slightly more introspective blend.
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12"
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KOM 287EP
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Having released their debut full-length In Technicolor (KOMP 106CD/KOM 279LP) to universal acclaim, Coma's Marius Bubat and Georg Conrad are pleased to present In Technicolor Remixe, featuring the considerable talents of Terranova, Roosevelt, and Zombies In Miami, who each deliver powerful reworks of their favorite tracks. Starting with angular stomper "Out of Control," masters of horizontal thrust Terranova deliver a suspenseful remix of the brightly-colored original, engaging the listener in an enthralling game of cat-and-mouse between the percussion and its melodic counterparts. Roosevelt's revamp of "Les Dilettantes" pushes back its free-form properties for a heavily disco-infused work-out driven by exquisite hooks and a deliberately jam-like mentality. The 12" closes with Zombies In Miami's take on "Cycle," turning it on its head with a blend of sun-bleached guitar licks, heavy-duty beats and a well-dosed serving of peyote-laced synths. A perfect conclusion to an enticingly polymorph collection of reworks.
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2LP+CD
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KOM 279LP
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Following two acclaimed EPs on Kompakt and more than a year of meticulous preparation, the bar has been set high for Marius Bubat and Georg Conrad aka Coma, who present their album debut In Technicolor. You'll hear them answer all expectations with an ingeniously-composed collection of triple A tracks, constantly shifting from club to pop culture and back. Spiked with brilliant guest performances from the likes of Vimes, Roosevelt, Ada and also MIT's frontman Edi Winarni, Coma's debut full-length gives you a panoramic view over Cologne's new school revamping of the city's sonic skyline. Purveyors of fine Cologne stomp since 2007, Coma knows how to incite a crowd. They have won over fans almost immediately with their personal blend of pop-infused electronics, and have been hailed as Cologne's next big thing. With their ridiculously catchy synth riffs, album opener "Hoooooray" and follow-up "Maybach" perfectly showcase the balance between club functionality and its counterpart, a kind of pop-styled playfulness found everywhere on In Technicolor. Tracks such as "Cycle," "Maximal Minimal" and "The Great Escape" certainly owe much to the crowd's demand for epic melodies and huge build-ups, but find themselves framed by free-spirited workouts like the stoically sung "Les Dilettantes." Laying out a richly adorned network of influences, In Technicolor is also a direct result of Coma's collaborative approach: maintaining their own studio in Cologne since 2008 allowed for the multitude of cameos by like-minded artists such as Vimes, Ada, Roosevelt and MIT's Edi Winarni, which were all recorded on-site. The most impressive part? It all holds together perfectly, going back and forth between expressive songwriting and infectious grooves, readily spawning massive hits like vocoder ballad "My Orbit." With the serene wisdom of final track "T.E.D.," the album comes to a fitting end, leaving the audience with one of the most engaging album experiences of 2013. Includes a free copy of the CD version.
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CD
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KOMP 106CD
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Following two acclaimed EPs on Kompakt and more than a year of meticulous preparation, the bar has been set high for Marius Bubat and Georg Conrad aka Coma, who present their album debut In Technicolor. You'll hear them answer all expectations with an ingeniously-composed collection of triple A tracks, constantly shifting from club to pop culture and back. Spiked with brilliant guest performances from the likes of Vimes, Roosevelt, Ada and also MIT's frontman Edi Winarni, Coma's debut full-length gives you a panoramic view over Cologne's new school revamping of the city's sonic skyline. Purveyors of fine Cologne stomp since 2007, Coma knows how to incite a crowd. They have won over fans almost immediately with their personal blend of pop-infused electronics, and have been hailed as Cologne's next big thing. With their ridiculously catchy synth riffs, album opener "Hoooooray" and follow-up "Maybach" perfectly showcase the balance between club functionality and its counterpart, a kind of pop-styled playfulness found everywhere on In Technicolor. Tracks such as "Cycle," "Maximal Minimal" and "The Great Escape" certainly owe much to the crowd's demand for epic melodies and huge build-ups, but find themselves framed by free-spirited workouts like the stoically sung "Les Dilettantes," the angular "Out of Control," or that little melancholic masterpiece just titled "#." Laying out a richly adorned network of influences, In Technicolor is also a direct result of Coma's collaborative approach: maintaining their own studio in Cologne since 2008 allowed for the multitude of cameos by like-minded artists such as Vimes, Ada, Roosevelt and MIT's Edi Winarni, which were all recorded on-site. The most impressive part? It all holds together perfectly, going back and forth between expressive songwriting and infectious grooves, readily spawning massive hits like vocoder ballad "My Orbit" or the longing "Missing Piece." With the serene wisdom of final track "T.E.D.," the album comes to a fitting end, leaving the audience with one of the most engaging album experiences to have in 2013.
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12"
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KOM 278EP
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Coma's Marius Bubat and Georg Conrad present a taste of their forthcoming album debut In Technicolor (KOMP 106CD/KOM 279LP) with the 12" release of My Orbit -- one of the album's surefire highlights, escorted by two brilliant remixes from UK post-dubstep upstarts Dauwd and Clouds. Interstellar ballad "My Orbit" is a true pop epic at heart, wandering a steepening path until it reaches its full-blown vocal climax sung by an android choir, happily veering off into bleep-disco territory.
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12"
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CORR 008EP
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Marius Bubat and Georg Conrad aka Coma combine pop and house, techno and indie rock with an eclectic approach, creating highly-recognizable music with an emotional impact. Inspired by travels through Vietnam, "Hanoi" is a deeply romantic track paying homage to the feelings of friends sharing expressions and experiences. On the B-side, French DJ, producer and Marketing Music Records head honcho Tim Paris turns up the heat on "Hanoi" with twisted synths and darkened vocals in a massive remix.
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12"
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KOM 236EP
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"Gravity" perfectly captures the raw energy of Coma's live sets. Highly infective staccato bass lines and a thrilling storytelling characterize this class-A stomper. The flipside tracks operate on a deeper level. "Total DLY" sounds like an homage to The Modernist with its jumpy yet elegant chord patterns, while the lullaby-ish "Fiction" is the perfect end-of-the-night track, complete with a tender vocoder chorus. What sets Coma apart from most of their competition is their capability to create emotive, highly recognizable music.
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12"
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KOM 226EP
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Cologne-based duo Marius Bubat and Georg Conrad aka Coma embrace the art of melody and warmth on this 12", revealing an endearing maturity. On "Playground Altona," they bring their techno/house euphoria to new levels in a shimmering bath of disco glow. The ambient warmth of "Fameless" succumbs to a floating bass kick as the sound of children play in the background. Finally, "Raindrops" features a familiar voice that carries you amongst a severely catchy rhythm. A gorgeous set-ender.
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12"
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KOM 199EP
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Coma are Marius Bubat and Georg Conrad, who combine pop and rave, techno and rock in a very unique, subtle and elegant way. Coma is new rave and old-school techno, '80s pop and 2K-modernity in a deep hug. Their debut 12" (FIRM 030EP) is in heavy rotation by Tobias Thomas, Sascha Funke and Superpitcher. Live on stage, they use a laptop, guitar, synthesizer and microphone, breaking the barriers between club culture and live concerts, techno and pop.
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12"
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FIRM 030EP
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"After their stunning debut last year on Firm 27 -- which found its way into the sets of many famous DJs like Sascha Funke, Superpitcher and Tobias Thomas, etc. -- now here's their next strike on Firm Records. Three tracks of a new quality out of their studio in Cologne with beautifully emotional vocals from Cynthia Scholten and synth support of befriended MIT-member Tamer Fahri Özgenenc. After a couple of remixes and a release on the Belgian Dogtown label, this is the next step on their way to the top."
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12"
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DOGTOWN 008EP
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"After a small winter break, Dogtown records has lined up some heavy quality releases for 2009! First one seeing the daylight is Blue by Coma on Dogtown 008. Coma are Marius Bubat and Georg Conrad, both in their mid-twenties. Being described by Tobias Thomas as the long awaited rush of fresh air in the streets of cologne and in the clubs worldwide, they caught the attention of Superpitcher, Daso, Ada & Sasha Funke (to name just a few) with their debut release on Firm (Kompakt) last year. Combining pop, rave & techno in a very unique, subtle & elegant way. Here they drop us a very warm & innovating EP full of lush melodies & harmonies! 'Blue' is that sort of track you fall immediately in love with after first listening and it contains enough chunky deepness to rock any club .The 'Brown' track on the flip is more on a deeper soulful trip while 'Orange' builds steadily to a climax & is getting already a favourite at their reputable live acts!"
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12"
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FIRM 027EP
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"Coma are Marius Bubat and Georg Conrad and they are the long awaited rush of fresh air in the streets of Cologne and in the clubs worldwide. They combine pop and rave, techno and rock in a very unique, subtle and elegant way. Coma are nu-rave and old school techno, '80s pop and 2k-modernity in a deep hug. Coma gives the right answer to the wrong hypes and new influences, voices and feelings to electronic dance music. Live on stage Marius and Georg appear with laptop, guitar and microphone and they know how to have fun with their own beats and how to make the people scream constantly."
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viewing 1 To 15 of 15 items
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