There are multiple artists with t… Read Full Bio ↴For the french punk band, see C.O.M.A.
There are multiple artists with this name:
1) Coma was a Polish alternative rock band, founded in 1998 in Łódź by Dominik Witczak (guitar) and Tomasz Stasiak (drums). They disbanded in 2019.
The first album Pierwsze Wyjście z Mroku was released in 2004. After winning the Rock Festival in Węgorzewo the band became very popular in Poland. The second album, Zaprzepaszczone Siły Wielkiej Armii Świętych Znaków was released in May 2006.
In 2008, after hiring a new drummer, Coma released the double concept album Hipertrofia.
2) Coma is a Cologne-based techno-/electro duo - Georg Conrad and Marius Bubat. After a couple of ambient-like tracks they turned more into the electronical style of music. In early 2008 they got signed by Firm Records/Kompakt and released a 12" played on heavy rotation by famous Techno DJs like Superpitcher, Tobias Thomas and Sascha Funke. (Official Website)
3) Coma is a romanian nu-metal band formed around 1999.
From the very beginning a DIY effort, the band never expected any help from “outside”. In search of a record deal, Coma faced the problem of being a little hard for Romania in a time when easy dance summer hits were at the top of all charts. They were the first band in the Romanian rock landscape who alternated heavy riffs, profound lyrics and screamed and warm vocals. They were the first band to abandon the way old-school rockers used to dress and gave Romania a glimpse of what was happening across its borders.
A record deal landed finally from A&A Records, a Warner Music licensee, and while it didn’t do anything for them, the guys worked hard at promoting their music in the old-fashioned way – as many concert appearances as possible. And the word spread quickly!
Their first video Nu vreau, fetițo, casă (basically a wordplay in speaking, meaning both "Girl, I Don't Want a Home" and "Girl, I don't want to" depending whether you think of "casă" or "ca să"), which appeared in March 2000, was a parody of the Romanian music scene back then and attracted a great deal of attention towards the band. In the meantime, the band was working on their first album, Somn.
When it came to recording new videos COMA turned to Palme d’Or Award Winner Marian Crișan (at that time, just starting out as a director) who directed their subsequent videos: Bruzli Vs. Vandam (a phonetic Romanian transcription of the names Bruce Lee and Van Damme), Stai (tr. Wait) and În mine în șoaptă (tr. In Me In Whisper).
After the first pressing sold out, the band faced the denial of a second pressing, as record labels in Romania did not want to take chances with what they thought was a risky and noncommercial genre. Coma didn’t sell much in comparison with foreign bands (4000 copies) but due to the lack of interest from the record label the fact that they sold out all copies in such a short time is a miracle in itself.
Both the country’s economic factors and the age of the members determined them to take a break and search for other ways to develop a good and stable base for their lives. Although they were on hiatus, the public didn’t forget them, and they appeared as opening acts for Sepultura, Soulfly, Deftones and Born from Pain. Also, during this period they had some club gigs. Their fanbase still supporting them was a catalyst for going back to the studio and finally, work on Nerostitele began.
Nerostitele (tr. The Unspoken), their sophomore album, was released on November 30th 2006, in a special concert held in Bucharest's FIRE CLUB. The album’s first video, Coboară-mă-n Rai (tr. Descend Me Into Heaven), was filmed entirely in infrared and was again directed by their long time director friend and Palme d’Or Award Winner Marian Crișan. Two more videos have been released from this album.
Because the situation with the record labels didn’t improve, Nerostitele is a 100% independent product. Although indie, the album has lots to offer: appearances from Faith No More bassist BILL GOULD, and ADRIAN DESPOT - lead singer of Romanian alternative rock band Vița de Vie and also a collaboration with a Romanian hip hop artist – BRUGNER (B.R.G./Delikt/R.A.N.-S.).
There has also been a second video for Cântă-mi povestea (tr. Sing My Story), but its promotion restricted and hindered by most major labels and tv stations still interested only in commercial music and bands, it was played constantly on original member HEFE's TV show, "BRING THE NOISE".
Outside the band, CĂTĂLIN collaborated, amongst others, with Bucharest hip-hop band DAGGA on their debut album, on "Cum am crescut" (tr. How I Grew Up) while DAN revealed, once again, his screaming skills on Romanian alternative-rap giants, DA HOOD, on a track named "De cate ori" (tr. How Many Times).
3) Coma is a heavy load crustcore band from Sweden, with former members of Born Dead Icons, Autoritar and Mass Genocide Process.
4) Coma was a late 1970s Danish prog-rock band with obvious Zappa-esque style jazzy influences, who released two records, Financial Tycoon (1977) and Amoc (1980).
5) Coma is a Psuedonym for Jerusalem-based Shai Yehezkelli. He has released 3 LP's through the years 1999-2002, under the moniker Coma, on the Israeli indie label Fact: Poem for the Lowest Common Denominator (1999), Coma (2001), and Asuuann (2002).
6) Coma is an 1980s Japanese post-punk band that took heavy influences from Killing Joke.
7) Coma was a Swedish sludge metal band that was greatly inspired by Neurosis, Isis & Alice In Chains.
8) Coma is an acoustic project of Spencer Mertel based in Seattle, Washington.
9) Coma is a Finish progressive / indie-rock band.
10) Coma is an alternate ego of Simon Rees who released an Ambient-IDM album called "Chronoglide" under the moniker Astral Engineering on Worm Interface Recordings in the mid 90s. The drum and bass side-project Coma turns up via a few remixes and also on the first "Alt.Frequencies" compilation on Worm Interface with the track "Zero".
11) Coma is solo orchestral-ambience project from Adelaide, Australia.
12) Coma was a former Slovak rock quaternion consisting of Miroslav Feher (guitar), Jozef Tomašovič (drums and vocal), František Vizváry (bass guitar) and Peter Tomašovič (vocal). Their only one album was issued in 1992 under label Tak sa mám.
13) Coma is swedish crustcore band. They released split 7ep w/ Mass genocide process and s/t LP on Insane society recs. Currently inactive.
14) Coma is an alternative band from Windsor, Ontario, Canada. Coma was Brendan Hickey (guitars, boomerang), Christien Gagnier (guitars, analogue synthesizer, organ, lapsteel w/ebow, voice), Stewart Adamson (bass), Ryan Fields (percussion), James Tiller (production)
15) Coma is a Black Metal band from Germany. They formed in 2004 and have released two demos.
16) Coma is a Melodic Death-Black Metal band from Italy.
17) Coma was a thrash metal band from Poland.
18) Coma was a Technical Grind / Death metal band from Romania.
19) Coma was a thrash metal band from Washington, USA.
20) Coma is no-metal band in Brooklyn/Albany, NY/San Francisco, USA.
21) coma is a post-rock band in Georgetown, Penang Malaysia.
Coma hails from a two-block radius in Albany, NY (a city with deadly low self-esteem, but I digress). They practice in a spooky warehouse across the river. The three boys performing under the name Coma have spent the last almost-decade playing their little hearts out in musical outfits of tiny personal successes (Zahnarzt, Lincoln Money Shot, Amazing Plaid) and retarded, cringe-inducing failures (Starts With A 'B' Ends With An 'H').
Coma sounds like a nihilistic ghost trapped in the body of a friendly robot. It's wicked reductive to compare 'x' to 'y', but that's what you're interested in, right? Well, the boys like to listen to Scott Walker, Bobby Conn, the Screamers, the Birthday Party, David Bowie and the fun Brian Eno records. They enjoy cozy living rooms, bottomless dark nights of monumental personal reflection, drinking with friends and listening to dubstep. Their turn-offs include old people and tacky coupons.
22) CoMa
CoMa is U.S. born female vocalist and producer residing in Los Angeles, also known as Nicole Marie:
She participates in many collaborations, such as CoMa & Owsey and has worked with Stumbleine: The Beat My Heart Skips (ft CoMa)
Facebook band pageSoundcloud
23) Coma is stoner doom band from Pittsburgh, Pennsylvania, United states
Bandcamp
Inne jeszcze obrazy
Coma Lyrics
Jump to: Overall Meaning ↴
Zawierały w sobie elementy zdarzeń przeszłych
Przeczucie rzeczy kolejnych a wszystkie
Niczym postaci realne odwiedzające mnie
W pokoju szpitalnym dawały rady
Szeptały pożyteczne słowa albo po prostu
Przyglądały się z uwagą próbując
Co mogłem zrozumieć z ich zatroskanych czujnych spojrzeń
A wszystko toczyło się ze mnie
Lecz jakby poza mną.
Owe obrazy choć nie powiązane ciągiem zdarzeń fabularnych
Zawierały jednak element który łączył je wszystkie
I podpowiadał że zjawiają się nieprzypadkowo
Pogrzeb dziadziusia kiedy miałem lat dwanaście
I zmuszałem się do płaczu podczas mszy
Bo nie potrafiłem wyobrazić sobie że go nie ma
Nawet chichotałem lekko ściśniętym chichotem
By potem przypuszczać przez lata że szatan mnie w tym czasie
Sprawdzał co dopiero znacznie później uznałem za raczej nieprawdę
Smutne spojrzenia dziewcząt przemykające
Kalejdoskopowo jak spojrzenia pasażerów tramwaju
Odjeżdżającego z przystanku
Gdzie wystarczyło być trzy sekundy wcześniej
By zdążyć i móc się odważyć na rozmowę
A potem kto wie
Ale nie
I próbowałem sobie tłumaczyć że tak to może musi być
Że oprócz determinacji która pozwalała od czasu do czasu
Spełniać zaplanowane rzeczy
Jest jeszcze los
Mojry przedwieczne
I te są nieugięte w wyznaczaniu kolejnych działań
Dla mnie
Niekoniecznie zgodnych planem
Ale i tego także nie jestem pewien
A poza tym co to ma za znaczenie
Skoro klucz leżał o wiele głębiej
I czułem że wiem gdzie
Lecz bałem się sięgnąć
J e s z c z e
Widziałem gromadki Egipskich chłopaków
Wybiegających na place Kairu
Wykrzykujących w łamanej
Angielszczyźnie kolejne definicje
Wolności
Chłopaki w Hiszpanii
W parkach Nowego Jorku
Tunisu Trypolisu Damaszku
Próbowali wyrównywać straty
Na własną rękę
Co przez pewien okres czasu
Zdawało się być nawet piękne
Zdawało się budzić nadzieję
Pisano o nich w Time
Mówiono w BBC
Prezentowano
Admirowano
Lecz bardzo szybko
Stało się raczej śmieszne
Szybko spowszedniało
Ich gesty
Nadęte
Nieszczere
Niezręczne
Opatrzone patetycznym komentarzem
Nie działały tak samo jak wcześniej
Palenie flag
Burzenie miast
Szeptanie mantr
Na wietrze
Kolejny reżim
Wyssie co lepsze
A co zostało
Spali
Media naświetlą palący problem
Dla podbudowania wątłej reputacji
Słowo wolność uwikła się w system
Skonfliktowanych racji
Terminologii i zależności
Szkoda mi było ich krwi
Żal ich wiary
W zmianę na lepsze
Bo gdzieś
Poza tym
Na dalszym planie znów
Wyczuwało się
Obecność odwrotnej siły
Która kroi na tej wojnie
Własne sprawy większe
Obecność siły większej
Ale chłopaki na placach
I w parkach
Nie mogli przecież
Jeszcze
O niej wiedzieć
Gromady punktów połyskliwych
W niezmierzonej oddali
Tak może piekło wyglądać
Gdy jest się jedną
Z samotnych kropek
Rzuconych
W chłodne
Ciemno
Widziałem
The lyrics of "Inne jeszcze obrazy" by Coma describe a series of images and experiences that the singer encounters. These images are not necessarily connected by a linear storyline but are linked by a common element, suggesting that they appear in the singer's life for a reason. The song begins by describing these images as they manifest themselves to the singer, appearing as real figures visiting him in a hospital room. They offer him guidance, whispering useful words or simply observing him attentively. The singer feels as though these images are evaluating him, as if he is being subjected to some kind of examination. The images exist within him but also seems to exist outside of him, suggesting that they have a deeper significance.
The song then delves into specific memories of the singer. One memory is of his grandfather's funeral when he was twelve years old. He struggled to cry during the funeral mass because he could not imagine his grandfather not being there. Instead, he suppressed his feelings and later questioned whether Satan had tested him during that time, although he eventually realized that this belief was not true. Another memory involves sad looks from girls passing by, compared to the fleeting gazes of tram passengers. The singer reflects on missed opportunities for connection, wondering if being a few seconds earlier would have made a difference. He ponders the role of determination in achieving plans and the influence of fate, unsure if his actions are in line with a greater plan. He acknowledges the existence of ancient Fates that determine subsequent actions but is uncertain if they coincide with his own plan. Amidst these uncertainties, the singer senses that there is a deeper key or understanding, but he is afraid to reach for it.
The song progresses to the singer's observations of groups of Egyptian boys playing on the streets of Cairo, shouting their definitions of freedom in broken English. This scene repeats in different cities, where boys are trying to make up for losses and take matters into their own hands, initially appearing hopeful and inspiring. However, their gestures become inflated, insincere, and awkward, accompanied by grandiose comments. These actions lose their effectiveness and quickly become trivialized, ultimately leading to their destruction. The media portrays these actions as a burning issue for the sake of maintaining a fragile reputation. The word "freedom" itself becomes entangled in conflicting rationales, terminologies, and dependencies, leaving the singer saddened by the loss of their blood, their faith, and their belief in positive change. While the media focuses on this burning issue, the singer senses the presence of a hidden force operating in the background, one that manipulates and prioritizes its own larger interests. However, the boys on the streets and in the parks remain ignorant of this presence.
Towards the end of the song, the singer declares, "Gromady punktów połyskliwych/W niezmierzonej oddali/Tak może piekło wyglądać/Gdy jest się jedną/Z samotnych kropek/Rzuconych/W chłodne/Ciemno/Widziałem" (Clusters of shiny dots/In vast distance/This may be what hell looks like/When you're one/Of the lonely dots/Thrown/Into the cold/Darkness/I have seen). These lines evoke a sense of isolation and insignificance, depicting the singer as a lone dot in a vast and cold darkness, where hell manifests in such a state of being. The song concludes on this reflective note, leaving the listener with a contemplation of the individual's place in the larger world and the challenges they face in navigating their own experiences and the hidden forces at play.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind