The Oxford Coma

Phoenix quartet The Oxford Coma serve up a feast of unpredictable heavy delights on fourth LP “Everything Out of Tune”. Elements of grunge, stoner rock, psychedelia and even a little noise rock grit make their presence felt during this intoxicating voyage. Although there are familiar influences evident throughout, it is The Oxford Coma’s distinctive execution that makes this record so weird and compelling.

“Trauma (Maybe I’m Forgetting Something)” rumbles into life like a Josh Homme-fronted Melvins while “Patterns Of Thought” sounds like Alice In Chains getting lost in the desert after a healthy dose of peyote. The title track is a whirlwind riff onslaught that somehow manages to maintain a balance of mathematical complexity and no-nonsense rock action to great effect. It is a perfect distillation of what makes The Oxford Coma great, intricate musicianship combined with skillful songwriting warped through a hazy psychedelic filter.

As the record progresses, The Oxford Coma dial back the heaviness and let their woozy melodic side come to the fore. “Reciprocal Damage” is the closest the band get to a regular song, the calm withdrawn vulnerability of the verses in stark contrast to the roaring release of the choruses. The track is built around a catchy guitar line that burrows deep into your brain and is simultaneously menacing and haunting. “Smack And Temporary Enlightenment” establishes a suitably narcotic atmosphere via clouds of chiming harmonics punctured by bursts of restrained yet still incisive riffage while “Good Job Boys” brings the record home with a slow-burning epic.

“Everything Out of Tune” is a breath of fresh air at a time when heavy music is becoming ever more reliant on recreation of past glories. The Oxford Coma delivers a welcome blast of vital strangeness while still riffing harder than most of their peers. - The Sludgelord

The Oxford Coma returns with a video for the track, "Smack & Temporary Enlightenment" from the Phoenix, Arizona outfit's acclaimed LP Everything Out of Tune. The outfit's

Vocalist/guitarist Billy Tegethoff offers a detailed explanation of the track's origins and evolution, saying, "Doug Staples, our bassist, and I wrote this song with our band in high school. We never played a show. We were just a group of friends who got together at my parents' house and jammed. Not all, but some of us, myself included, got heavily into drugs while we were doing this. It was a symptom of wanting desperately to be able to have some kind of depth and credibility as an artist...or at least that's what I tell myself in retrospect. I was probably just a dumbass kid who got completely lost while trying to fit in and have a good time."

He adds, "On one hand, I got really lucky. Not only because I didn't die, but also because I got really fucked up while I was young, and had no choice but to sober up early in life. I just turned 32 (five years past my teenage goal of hitting the 27 club) and I'm watching some of the people who fared better back then struggle with slower-progressing addictions and all manner of mental illness now. Finding someone whose life hasn't been directly affected by one or the other is very rare in my experience."

As for the musical origins, one can hear them very much alive and at work in the completed rendition of the song. "We always called this song 'Harmonics' because of the main guitar part using fourth and fifth fret harmonics extensively. We may have done well to leave the title as it was, but I changed it for the final proof of the album artwork to the perhaps-a-little-too-on-the-nose 'Smack & Temporary Enlightenment.' The song is a reflection of a time that was filled with absolute extremes of experience. We used to take ritualistic trips to Empire Ranch National Preserve near Sonoita, Arizona and eat psilocybin. These trips stripped away a lot of layers of learning and certainty and put me outside the normal subjectivity of my life. They left me with a feeling of incredible fulfillment, peace, and understanding. But, I was also on the edge of full-blown heroin addiction; a swamp into which I descended fully shortly after this time period and from which I didn't emerge for several years. Swinging from one extreme of drug experience to the other was jarring and confusing. It had the obvious and inevitable effect of alienating my closest friends and destroying my closest relationships. The song is representative of the cognitive dissonance required to feel genuinely enlightened while at the same time being so incredibly naive, harmful, and heartbroken."

For the video, the members returned to the sight of their previous psychic explorations as well as "a scorched patch of forest up by Flagstaff", Tegethoff continues. "I think the dichotomy is appropriate. The aerial shots are alternately jarring and revealing of a beautiful landscape. There is no central narrative. It's just kind of a bunch of loosely connected scenes that (I think) form a coherent whole once it's over. I didn't really plan for this video to turn out the way it did. I had limited footage from one trip out with our friend Aiden Chapparone, who is a legitimate filmmaker. The rest I had to cobble together myself. It was fun though. I learned how to pilot a drone and learned a lot of matting and animation techniques in post. Most of the video itself was inspired by editing accidents or just messing around and finding something cool. I hope this gives it some context that might make it more interesting to watch."

Everything Out of Tune was recorded and mixed by Steve Albini at Electrical Audio in Chicago and mastered by John Golden at Golden Mastering. The record also features guitar from Intronaut's Sacha Dunable on the lead track, "Trauma (Maybe I'm Forgetting Something." - Popmatters

The Oxford Coma, which is a very clever band name, is a unique type of heavy. They're not trying to rip your head off with crushing riffs, but you can absolutely sense the angst and anger in the band's music. We're premiering the very unique new song "Cartoons" today, which vocalist and guitarist Billy Tegethoff says is representative of his own frustrations.

“These track are my frustrations, addictions, neuroses, and grief,” says leader Billy Tegethoff. “They’re my analysis of the times.”

"The culture of social media wars, 24-hour streams of videos of cops committing atrocities, fucking Donald goddam Trump, nationalism, racism, misogyny, and other forms of violence has had me alternately furious and depressed for the last several years," he says.

The Oxford Coma will release Everything Out Of Tune on October 13, and you can grab a digital pre-order here and vinyl here. Everything Out Of Tune was recorded and mixed by Steve Albini (Neurosis, Weedeater, etc.), and features co-writing efforts from Sacha Dunable of Intronaut on "Trauma (Maybe I'm Forgetting Something)" and "Smack & Temporary Enlightenment." - Metal Injection

The Oxford Coma combine varied influences to find their signature sound, which they describe as “progressive psychedelic grunge.” Aided by legendary producer Steve Albini, The Oxford Coma’s latest effort, Everything Out of Tune is unique and fresh. Decibel caught up with guitarist/vocalist Billy Tegethoff to chat about the album and bring you a full stream of Everything Out of Tune.

Everything Out of Tune was recorded by Steve Albini. What was that experience like, and what does Albini bring to the table in terms of helping to perfect your sound?
The experience was basically the musician’s equivalent of visiting Willy Wonka’s factory. The place is a gear museum, but you get to use the exhibits. At one point, I wanted to use Steve’s EGC for an overdub, but it needed to be tuned down to A. He got out a super heavy set of strings and we started putting them on, only to realize the grooves in the nut were to small. He actually got out a file and modified his own guitar on the spot so we could use it for one song.In terms of what he brought to the table, I mean, he’s a surgeon in the studio. I think he’s recorded like 2500 records. Contrary to popular belief, all you have to do to record with him is send them an email through their website and book time. With perfecting the sound, he’s very passive. Any time he gave feedback, it was strictly technical. He made it clear every time that nothing he was saying was a comment on the aesthetics of what we were doing. He wanted us to leave with the record we wanted. He’s very careful not to impose his vision on his clients. Fortunately, we went in prepared. I think you’d be in for a rough time if you go there without a clear vision, expecting him to help you clarify it. That said, it was extremely laid back. We were there to work, and so was Steve, but we were never made uncomfortable in any way. They’re really dialed in, not only from a recording stand point, but from a customer service one as well.
Intronaut’s Sacha Dunable is featured on “Trauma.” How did that collaboration happen and what was working with Dunable like?
I met Sacha accidentally a few years ago because a friend of mine bought a custom guitar from him and made a post about it on Facebook. I looked at the Dunable Guitars website and fell in love with his take on the old Gibson RD body style. I had seen Intronaut a few times, but I had no idea what any of their names were. I ordered a guitar from him and when the receipt came it said I’d made a payment to Intronaut. It was a pretty sweet coincidence as a fan.

Over the next few years, I kind of insinuated myself into his life. I redid his website for him and did some product photography (that stuff is my day job). I got to meet his band and hang out with Mastodon when they did some shows with them.

Sacha’s one of the nicer people I’ve met, especially in music. He’s always been willing to lend experience, advice, and his time. He agreed to do the collaboration without any hesitation. He even donated a riff that became the foundation of Trauma. He’s a solid dude. Everyone should go buy one of his guitars too. Best on the market in my opinion, and the opinions of a ton of other people.

The Oxford Coma’s sound is described as “progressive psychedelic grunge.” What are your influences, and how do you combine them in a way that keeps The Oxford Coma sounding cohesive?
Like every 30-something white bro-type, I love Tool. They ruined me for a lot of other music in high school. Trying NOT to sound like them is a big challenge because they provided my formative basis for what I consider good a long time ago. With the grunge label, I obviously semi-worship Nirvana. On the prog side, I really appreciate what The Mars Volta do. When I was fifteen, I was really into the shredder shit, but I find it pretty tedious now. The psych titans will always be Pink Floyd, and Roger Waters still kills live in his 70s.

As far as cohesion, I don’t know. I write relatively simple arrangements, because I think songs need themes that you can latch onto. Doug and Casey like to get weird with things. Seems to balance out. - Decibel Magazine

2015 shows the ever-changing, indefinable The Oxford Coma crawling forth from the deserts of Arizona to bring some psyched-out jams to your doorstep. This trio (though sometimes a quartet) has been steadily crafting unique releases since their 2011 inception and have yet to show signs of slowing down. Their multi-faceted compositions draw influence from all over the musical spectrum, including stoner and sludge metal, psychedelic rock, math rock, noise and more. Combine this eclectic range with a penchant for improvisation and you’ve got a weird and unique sonic experience on your hands. With each subsequent release since their formation, the band has been undergoing a self-described and self-inflicted recording “de-evolution” – opting for more raw and live recordings. The Oxford Coma has finally devolved to their sonic version of Homo erectus with the debut full-length, Paris is Mine. The 40-minute follow-up to 2014’s Morphine EP features minimal production but retains a punishing, acidic rock sound.

Paris is Mine begins with the trifecta of “Canadian Question Mark”, “Ritaling” and “Daisies”. These tracks, which are each over six minutes in length, really set the stage for the record. A hypnotic, driving rhythm section writhes throughout “Canadian Question Mark” as the guitars conjure nauseated verses and fuzz-laden, early-Melvins-esque beatdowns. Grumbling bass lines and corrosive stoner grooves can be heard throughout “Ritaling”, which is arguably the album’s most intense track. “Daisies” churns out repetitive, aberrated blues riffs that are reminiscent of Era Vulgaris-era Queens of the Stone Age. The track piles on more dirty madness as it reaches its drug-induced bridge that features a wacky, atonal solo that Larry LaLonde would be proud of. The album’s fourth track, “The Pulls”, channels grimy grooves for a calamitous assault, while the nearly 11-minute “Ados Watts Jam” attempts to combine all of the avenues explored on the record through improvisational insanity. The Oxford Come closes out Paris is Mine with a down-tuned, sludge-ridden cover of Led Zeppelin’s “When the Levee Breaks”, which turns out to be quite impressive.

Though they have been pumping out releases for the past four years, it appears The Oxford Coma seem to have finally found their niche with Paris is Mine. The band’s affinity for experimentation and improvisation, combined with the raw, venomous production, makes for a heavy and eccentric listen. If this is just their first full-length record, then there is no telling how weird the next one will be. (Lane Oliver) - New Noise Magazine

I don’t normally do EP's, but this one seriously caught my attention. The track off The Oxford Coma’s debut album that really did this was “Tradition” and anyone that reads my reviews will know I don’t normally get stuck straight into a particular track until I’ve waxed lyrical about who they are and a full on back history and some other boring waffle. The thing is though, this band is anything BUT boring.

This EP seems to have a little something special about it. Almost like it has that special thing that you can’t put your finger on and I can safely say it takes a lot for me to sit up and take notice of something, but it isn’t normally this quick. With “Morphine” they’ve really put out a state of intent and I for one am curiouI don’t normally do EP's, but this one seriously caught my attention. The track off The Oxford Coma’s debut album that really did this was “Tradition” and anyone that reads my reviews will know I don’t normally get stuck straight into a particular track until I’ve waxed lyrical about who they are and a full on back history and some other boring waffle. The thing is though, this band is anything BUT boring.

This EP seems to have a little something special about it. Almost like it has that special thing that you can’t put your finger on and I can safely say it takes a lot for me to sit up and take notice of something, but it isn’t normally this quick. With “Morphine” they’ve really put out a state of intent and I for one am curiouI don’t normally do EP's, but this one seriously caught my attention. The track off The Oxford Coma’s debut album that really did this was “Tradition” and anyone that reads my reviews will know I don’t normally get stuck straight into a particular track until I’ve waxed lyrical about who they are and a full on back history and some other boring waffle. The thing is though, this band is anything BUT boring.

This EP seems to have a little something special about it. Almost like it has that special thing that you can’t put your finger on and I can safely say it takes a lot for me to sit up and take notice of something, but it isn’t normally this quick. With “Morphine” they’ve really put out a state of intent and I for one am curiou to see what an album like this could well bring with a bit of time a maturity added to what is already a polished and interesting sound.

Going back to “Tradition” now, and as soon as you hear that almost Tool or Machine Head styled guitar and bass intro you get caught up in it. The vocal interest also helps to manipulate your senses into enjoying this more and more as you listen. It almost gets grunge-like in it’s emotion, with a small amount of pain and anger mixed with melodic intent. There is a rawness about it that is refreshing. Not so much a rawness that makes you want to throw it in the nearest recycling bin, but one of passion being unleashed at a time that seems right.

With “My Riad” you have a Deftones style singing approach, with a lot of the screaming bordering on the line between control and complete chaos. The chorus is particularly well done and leads into some nice riff work. The EP begins in a way that you feel that there is a mixture of youthful exuberance and madness all wrapped into a few minutes of audio. I don’t normally go for the “SHOUTY SHOUTY” styled of singing, but I’ve always said that if there is a hint of understanding just what the hell is said then I’m actually all for it. The best thing is that in all of this captivating screaming the music itself is pretty tight and allows for you to appreciate all corners of the band from the off.

As I say, the one thing that really stands out above all else is the rawness of The Oxford Coma and this is shown in full force on “Black Balloons”. I’ve heard some haunting things in my time, but this is just so sublime it borders on the ridiculous. It almost rings Nirvana in my eyes, with an almost Kurbain styled singing and some properly moody instruments behind it all. For a guy who grew up in the 90’s loving everything like this it almost takes me back decades. The fact that it almost makes me cry with joy is something that speaks volumes and will no doubt be better than any review I could ever do.

When a song can draw as much emotion from you as they put into their song then you just know that a band has struck a chord with you. I feel that this band could be at the start of the journey that makes them. The REAL beauty of this EP is that is has a little something for everyone, which means they will either be able to cover all bases or want to find their direction and just absolutely gun it. I know what way I want them to go, but obviously it is up to them.

Listening to this EP as a whole makes it difficult to actuctually categorise them. There are hints of so many different bands in there that you cannot really classify them in a particular genre (which is also making me panic when linking them to similar bands at the end of all of this) If I were to pick the most accurate I could I would say that they’re leaning towards Godsmack with a mix of Nirvana and the Stone Roses. As I say it is a difficult thing to put in a place.

Covering the rest of the songs on this, “Grindstone” seems to be torn between the Dr Jekyll verse work, which is rather subdued and controlled and the more angry Mr Hyde in angry chorus stylings and an interesting instrumental section in the second half. This is maybe one area where I would say, like an amateur translator, they need to slightly brush up on, only because I feel it disjoints the actual track a little because it does try to go EVERYWHERE.

The title track is amazingly the only real track that sort of lets things down a little. The emotional singing goes a little over the top and sometimes sounds out of whack from the rest and as much as the actual music goes a way to helping things get back into the groove, the singing just doesn’t help it get it all back to normal, which is a shame considering how decent the rest of this actually is.

Looking at it all then we have a band who seem to be on their feet and now want to head somewhere. Quite where we don’t know yet, but for the most part (“Black Balloons” in particular) I like what i hear, quite a bit actually. It seems to have purpose and drive and doesn’t want to be held back by a guy waving a contract and that is a good thing indeed. Some tweaks and maturity need to weave their way in as improvements go, but I have heard worse from music veterans of decades old and this EP really isn’t bad at all.

If these guys aren’t something to watch out for on sheer passion alone, I don’t know what is.

Download: Black Balloons, Temptation, My Riad
For The Fans Of: Tool, Deftones, Godsmack, Machine Head
Listen: facebook.com

Release date 02.12.2014 - Rockbreaks.Net

n the beginning was noise, samples and feedback. On the sixth day they got to the meat of the matter. Angular and husky guitar playing uncoils the frayed edges of riffs. They stab out at your ears like the Amp Rep bands from the late 90's. The grooves tightly wound around the over wrought vocals. Singer Billy Tegerhoff flirts with wild man howling though not really harshly growled. Hailing from Phoenix the band's density of the flailing chaos is well calculated. From the taunt bass thump of "Tradition" that recreates more of a latter era Kyuss feel. Plenty of post-grunge angst coats the melodies. "Tradition" also holds a slight Clutch like bounce offsets the more sludgey leanings.

he Killing Joke like chant to the verses of "Grindstone" drift the song in a more post- rock direction. There are echoes of the Catherine Wheel, in drone of the riffs stoney haze. It finds its self more unwittingly post-punk, really the vocals are what gives it a more accessible mid ground almost drawing it back with the more Mike Patton like moments to the border of falling into a Primus meets System of A Down sort of thing. The roughened up production saves the day here to hone it's edge.
Slightly to the right of Sleepytime Gorilla Museum when it comes to the cerebral leanings of their proggy spasms. The singer's choices of melodies border something Filter might have done early on.
"Black Balloons" starts of with an almost ballad like quality. The sound effects zooming around faintly behind the mix, keeps you from pulling out your lighters like this was Stone Temple Pilots song. It straddle the line between being grunge and something more Sunny Day Real Estate here.

Tegerhoff has said they are not really a metal band, but a throw back to Nirvana's Bleach Days and Eyehategod's Dopesick album, along with Steve Albini and Neurosis. It's good to know I am not crazy for hearing some sort of grunge thing going on. Vocally Black Balloons carries a Cobain quality . Otherwise the sound of this album is centered on the live feel . It's the noisey gift wrap this thing is tied up in as musically, they share little common ground with Neurosis aside from being more about heavy sonics than heavy metal. Eyehategod , one can assume the same thing as the New Orleans band was more jarring and almost punk in it's explosive sound, the punk element to these guys is minimal at best, due to the fact they wind things up in more of a Jesus Lizard or Tool like manner.

Overall these guys have a pretty raging machine going. The rawness keeps it in check from becoming too Arena rock grunge ala' Filter and they stay the course. Hope to hear more from these guys in the future . If you miss the big throbbing over drive of underground 90's mettal then you would be a fool not to check these guys out, you'll be surfing the crowd in your Doc Martens all over again. -

Arizona psychedelic rock band The Oxford Coma are back with a dark, raw second studio album that will leave you reeling with the sheer weight of emotion conveyed. Billy Tegethoff (guitar and vocals), James Williams(bass and vocals) and Anthony (drums) introduced themselves to the world with ‘Adonis’ two years ago, a project which won them a host of fans all over the US and Western Europe. Pundits were already calling the trio a breakout band in the making. Anyone who listened to this eclectic debut would be hard-pressed to categorize what they just heard; it had a pinch of prog rock, a dash of grunge, a touch of nu-metal, a smattering of punk funk… But while folks were dreaming of lucrative record deals on the group’s behalf, they remained determined to keep their feet on the ground and keep playing.

Eyes on a new project

And play they did; not only did they tour extensively in the Valley and regionally in the course of 2013 and 2014, they got to play in the international CBGB Festival in the Big Apple as well as open for such acts as Fear Factory, Soulfly and Amaranthe. They enjoyed a widely successful tour of continental US this summer and have clinched an endorsement deal with Orange Amplifiers. But with all this going on the band had their eyes on a brand new project. The ‘Morphine’ EP is not your usual record; according to frontman Tegethoff, the goal was not just entertainment. “It’s not about f**king hooks. These songs are about grief, loss, death and deeply personal experiences.” For this purpose the group chose to record the EP live, capturing the feelings in the music at their rawest and presenting them as-is.

Not really a metal band

Growling bass and querulous guitars meet you right at the gate right after a short speech on mankind being confronted by its mortality. Much as Billy insists The Oxford Coma is “not really a metal band”, ‘My Riad’ would qualify as a dark metal cut were it not for the melodious hook. His voice is jagged with emotion as he carries on about “Dracula’s hip debauch”. He ploughs on with the same anguished energy into ‘Tradition’ and the guitars again do their best to out-scream him. By this point in the album you can already see yourself yelling, arms raised in a crowded mosh pit as Williams and Billy shred their guitars and Anthony obliterates his cymbals right above your head. The six-song sortie comes to a mellow end with ‘Black Balloons’ by which time you will be aching for a full-length album. - We Do It for the Love of Music

As a follow-up to their 2012 debut full-length ‘Adonis’, Phoenix AZ based psychedelic rock/metal trio The Oxford Coma have completed work on a six-track, 24-minute EP called ‘Morphine’ which is now streaming in its entirety on their bandcamp page and is set for a limited edition blood red vinyl release on December 2nd 2014. Besides boasting of an attention-grabbing band name, The Oxford Coma’s music on this EP is intriguing in equal measure.

Having been around since 2011, The Oxford Coma have clearly developed their abilities to express their emotions through music of such high intensity, portraying their personal life experiences in the process, vocalist/guitarist Billy Tegethoff conveying the grief a family tragedy with the title track, for example. The most unique aspect of this EP is it was recorded live and is undauntedly raw, delightfully in the vein of Eyehategod more than anything or anyone else one can relate this music to while listening to it.Starting with the short intro track ‘InfraStatic’and journeying through the aggressive, chaotic and sludgy ‘My Riad’, the slowly crushing ‘Tradition’, the introspectively melodic ‘Grindstone’, the menacingly heavy ‘Morphine’ and the grim melancholic closing track ‘Black Balloons’, the EP brings forth excellent performances on vocals and all the instruments. This is the most interesting piece of music I’ve heard coming out of Phoenix AZ in a long, long time, and with the release of this EP, the whole world of heavy music fans must be introduced to the brilliance of The Oxford Coma.



- - Metal Assault Magazine

Mitchell Hillman's Review for the January 2013 issue of JAVA - JAVA Magazine

Diese knapp ein Jahr junge Band frönt einer bereits sehr eigenen Art von Progressive Rock: Krach und flinke Finger schließen einander bei ihnen nicht aus, genauso wenig wie Intellekt und Bauch.

„BBS“ zeichnet nach dem Intro „Ellipsis“ zunächst ein schroffes Bild: tänzelnder Rhythmus, lärmende Gitarrenriffs und hektisch verzerrter Gesang. Der geschriene Refrain ist ebenso markant, wie der ganz kurze harmonische Part auffällt. In dieser unberechenbaren Ausrichtung weist das Stück den weiteren Weg. „Last To Die“ klingt bei gleicher Grundeinstellung in seiner Dringlichkeit und Hektik (virtuose Bass-Gitarren-Unisonos) geradezu paranoid, aber erneut sorgt der Refrain für die notwendige Haptik.

Mit „Peregrine“ oder „Seven“ lassen THE OXFORD COMA und vor allem Sänger Tegethoff Steven Wilsons neuere Werke anklingen, denn der düstere Charakter wie auch die Stimmführung gemahnen stark an den Briten, ohne dass die Gruppe dabei ihre eigene Handschrift verlöre. Der Schwerpunkt verschiebt sich zusehends zurück zu den für sie typischen Koordinaten, das Stück wird hibbeliger – verspielter – und letztlich von einem gelösten Refrain gekrönt. Auf ähnliche Weise wecken „The Pirate Song“ und „Mime“ in ihrer phasenweise vorhandenen Eleganz und Theatralik Assoziationen zu MUSE, aber das Trio, dessen Sound für ein solches übrigens klassisch anmutet, wäre nicht es selbst, wenn nicht auch hier fiese Dissonanzen zum Tragen kämen. Das Titelstück trägt sich durch ein markantes Hammer-On-Motiv sowie die beschwörerenden Strophen-Melodien und stünde auch einer gemeinen Noise-Band sehr gut, was man auch von „Rim Liquors“ behaupten kann, dem mithin am stärksten auf den ausdrucksstarken Gesang versteiften Song.

Was „Adonis“ ein wenig herunterzieht, sind die geräuschhaften Zwischenspiele („Ether Moths“, „Stall 3“) oder das eigenartige Outro „Ghosts Of Departed Quantities“. Die Stücke an sich packen aber gleichermaßen beim Schopf wie an den Nieren. Zu den Highlights gehört zweifelsfrei „Lictosy“, ein sich langsam aufbauender Antreiber, der die Zerrissenheit, die THE OXFORD COMA anscheinend vertonen möchten, wie kein zweites Lied ausdrückt. Die während der Bridge hervorgekehrte Virtuosität sucht ihresgleichen, und es ist beachtlich, wie schmutzig geerdet die Musiker dabei immer noch klingen. Schweiß dringt aus allen Poren dieser Scheibe … und Herzblut.

FAZIT: THE OXFORD COMA aus Arizona sind schon nach einer EP eine sehr originelle Band im Spannungsfeld zwischen alternativem Rock und Prog, ideell verwandt mit INCUBUS oder den Schweizern NAVEL und doch eigenständig, störrisch, unbequem, ohne gutes Songwriting zu vernachlässigen – ein Höhepunkt des schwindenden Jahres 2012. - Musicreviews.de

Songwriting - 3.25 || Music - 3.75 || Vocals - 3.5
Web: www.theoxfordcoma.com
Location: Phoenix, AZ
Genre: Alternative, Progressive, Experimental,
Grunge, Psychedelic

This is not your the psychedelic band that your parents encountered at Woodstock in the
60's. The Oxford Coma is a rock'n roll beast waiting to consume the unsuspecting ears of
any virgin listener to grunge music. If you're looking for an auditory thrashing, then
you've got to hear TOC's latest release, Adonis. Riding the fine line that separates
alternative rock music from psychedelic rage, TOC's Adonis LP embodies the same key
elements that made bands like Tool and Nirvana so prominent.

Going into Adonis, you're met by TOC's flame thrower of a track, "BBS". This particular
song passes through nearly every gate in the rock music genre. It's alternative and
progressive, while maintaining its experimental/phsychedelic grunge underbelly. The
musicianship and vocal delivery are hardcore and very complex, showing that TOC is not
just some novice rock band trying to make a name for itself.

As you exit BBS, The Oxford Coma disrupts your quiet enjoyment of life and completely
ransacks the house of tranquility. Songs like Rim Liquors, Seven, Adonis (title track), and
Pirate Song could turn TOC into a serious contender for the grunge rock crown.

In an era of music where EP releases have become the substitute for LP's, TOC drops a
13 track assault on the "norm". Adonis gives us a real "extended play" on what TOC is all
about, leaving listeners with little doubt as to who this band and album is targeting. Unlike
many of their mainstream genre-mates, TOC purposely avoids the Top 40 alternative
pop-rock sound that has been masquerading as progressive grunge rock in recent
years. These guys are the real thing. Go check them out.
ADONIS
Artist: The Oxford Coma
3.5
RATING
Rating: 1 = WORST, 4 = BEST


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Review by: Senseitional (Reviews Editor, I Am Entertainment) - I Am Entertainment Magazine

Nearly a year after teasing me with 3 excellent tracks (the Infrastatic EP), Arizona alt-rock trio The Oxford Coma have finally unleashed their debut full-length, Adonis. My unusually high praise then has led to equally high expectations now. The Infrastatic EP has been merged into Adonis, a wise choice as each of the tracks fit right in amongst the new material. Independently released and produced, Adonis has a gritty edge, and contains some of the absolute best rock music you're going to find.
What sets the band immediately apart is their individual talents; frontman Billy Tegethoff has a powerful, moving voice and high-end guitar chops to boot. Bassist James Williams works overtime to fill in the trio's soundscape, and accomplishes this with nimble-fingered grooves aplenty. Rounding out the group is drummer Casey Dillon, who has a knack for utilizing the entire kit to weave intricate rhythms or tumultuous fills, and does so with practiced timing. Combined, these three of The Oxford Coma are obviously talented, but what shines through even more is their ability to write catchy, memorable songs. After a brief interlude, "BBS" kicks the album off with sharp, circusy riffing, and rages on into a crowded chorus. Very reminiscent of self-titled era System of a Down. "Last To Die" is one of the three tracks from their debut EP, a quick-paced platform for some of James' best bass work and a low-key but memorable chorus. "Rim Liquors" has many faces, at times a groove-based jam, at others an intense dose of STP-esque grunge. "Mime" has a strong psychadelic quality to it's swirling, hypnotic riffs, reminding me of Tool in more ways than one. "Seven" was my favorite track from their EP, and remains one of their best to date, a completely engrossing piece that demands a presence on rock radio nation wide.


And that is just one half of the outstanding, remarkably enjoyable Adonis, an album that should side swipe many a listener. The most difficult aspect of any band's early stages is exposure, and my biggest fear is that Adonis may slip through the cracks of fans and critics. This would be a crime, as it is undoubtedly the strongest debut effort I've come across in many years. Take steps to check this one out, it's most definitely worth your while. - Music Emissions

If ever there was a break out band in the making, it's The Oxford Coma. A little more than a year old, the band recently released its debut album, Adonis, and it's sure to get noticed. An amalgam of modern rock, prog, nu-metal, grunge, garage and funk punk, The Oxford Coma -- guitarist/vocalist Billy Tegethoff, bassist James Williams and drummer Casey Dillon -- amazingly harnesses the best of these disparate styles into massive soundscapes that don't sound like any other band out there.

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"That's kind of what we were going for," Tegethoff says.

It takes a few listens, and some deeper focus, to find the core of this band, but among the quiet/loud passages, guitar sections that chatter, chunk, skitter, sear and thrash, atomically-driven bass riffs and drums full of nuance and determination there are Tegethoff's vocals, which alternately push the harmonic boundaries of pure release and shift into guttural death metal screams.



Considering the strength of the album's 13 tracks as a whole, and radio-ready songs like "Last to Die," "Seven" and "Ellipsis," it's quite possible a record label or alternative rock tour will come knocking. That could mean big things for The Oxford Coma.

In the short-term, the band's plans remain grounded and realistic: to develop a regional following and perform as frequently as possible. For music aficionados on the lookout for something hot, best see this band live while the shows remain intimate affairs (maybe even with some fishhook suspensions) as it won't be long before Tegethoff, Williams and Dillon's improvisational impulses and crafty songwriting carry the band ever higher -- possibly right out of the Valley.

The Oxford Coma is scheduled to perform Saturday, December 22, at Monarch Theatre. - Phoenix New Times

The Oxford Coma doesn't sound like any other band you've ever heard, and that's the idea.


Details
The Oxford Coma are scheduled to perform Saturday, December 22, at the Monarch Theatre.
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Tool (Band)Billy TegethoffCasey DillonArts, Entertainment, and MediaMetal and Hardcore
With thumping, funky-to-furious bass lines mixed with propulsive drumming and searing guitar action, the band blurs the distinctions between modern rock, alt-metal, and punk. The band's debut album, Adonis, is not something that easily can be compartmentalized.

It takes a few listens, and some deeper focus, to find the core of this band.

"That's kind of what we were going for," says guitarist/vocalist Billy Tegethoff.

When Tegethoff says the band's truly a "collaboration," he's not simply being gracious. What's central to The Oxford Coma's ability to merge such disparate sounds are the varied influences of bassist James Williams and drummer Casey Dillon. Tegethoff is an admitted fanatic for progressive metal band Tool, while Williams brings a heavy, deep groove that counters Dillon's jazz and hard rock background.

Tegethoff notes on the band's website that the result becomes something of a composite of Tool, Primus, Nirvana, System of a Down, The Mars Volta, Muse, and Incubus. The description seems accurate in select places — not overall — and doesn't give the band enough credit for its singular creation.

"I don't know if it's necessarily a conscious effort to combine all those artists," Tegethoff says. "I wrote that after all the music was written, and that was the best comparison I could come up with . . . I know a lot of my guitar riffs and vocal melodies are strongly influenced by [Tool].

"But then [Casey and I] brought in James, and his bass style is much more a groove and funk bass than anything that Tool does. And Casey has always been interested in jazz and electronic percussion, [which] deviates from what [James and I] are doing. Throw it all together and the collaboration comes together."

The Oxford Coma formed in the wake of the collapse of Tegethoff and Dillon's former band, Verico. Tegethoff and Dillon continued to perform together and, ultimately, were approached by Williams. An audition jam session sealed The Oxford Coma's fate.

"When we heard him play, it was an instant fit," Tegethoff says. "We didn't even have to try anyone else."

The three began jamming and writing songs and quickly discovered an amazing cohesiveness for a young band. But questions persisted: Namely, should the band bring in a singer despite the fact that Tegethoff wrote most of the lyrics? After some deliberation, the band remained a trio.

"One of the issues I had with the last band was trying to collaborate on lyrics and vocal melodies. I'm sort of a control freak, so I didn't like giving any of that up," Tegethoff says. "When we were starting this, we talked about getting a different singer, but it seems more sincere, considering I'm the one writing the lyrics and vocal melodies, to do it myself rather than pick somebody else up to do it just because they might be able to sing a little bit better."

This decision meant Tegethoff would play guitar and sing, something he'd never managed in previous outfits. Playing guitar alone had required less focus, but the challenge to handle both proved enlightening.

"It's very different for me, trying to carry both torches like that. I'm a lot more comfortable with guitar," he says. "Having to do both on stage and try to do them well — it's been difficult, but it's also something I've wanted to do for a long time, so it's been rewarding, too. I say to hell with it, and go for it."

Despite any reservations, Tegethoff's guitar sections chatter, chunk, skitter, sear, and thrash in dances of prog, alt-metal, modern rock, and grunge, while his vocals shift from powerfully melodic to raw power and death metal screams. Tegethoff's voice lessons have contributed positive growth and range.

"That was always the biggest criticism I got . . . my vocals weren't [up to snuff]," he says. "I didn't have a whole lot of confidence to be able to carry a band vocally."

Adonis drops Saturday, December 22, and features 13 tracks, including the three that appeared on the band's Infrastatic EP. The release raised expectations for the band, though Tegethoff says the EP was just a way to blow off steam, since the fledgling band didn't yet have enough original material to play gigs.

"We wrote some songs, but didn't want to hide out in the practice space. And we couldn't do a show with only three songs," he says with a laugh. "So we - Phoenix New Times