KOMI~The producers

Frank Cotolo is the brain behind Cool Noise Studios and The King Of Monkey Island (KOMI).

With the assistance of many of his veteran musician friends, Cotolo has made a lot of music since returning actively to recording after a 19-year hiatus.

KOMI, however, did not have many of Cotolo's "usual suspects," with the exception of brief appearances by John Amato and Vince Coratello.

Playing the most ambitious role, it turns out, is   Larry Michelich, who has been responsible for a lot of Cotolo's CD art and has created the classy KOMI's package. Michelich, a drummer, co-authored and plays on one KOMI piece and continues to work with Cotolo on marketing and promotion at Cool Noise Studios.

All other expectations for outside participation failed during the more-that-a-year production, due to many professional reasons.

 
Another point of view, continued

The comparison is further supported by the fact that Cotolo’s Wilson influence has become more defined since KOMI was announced as his next project. One need only listen to two of his recent singles, Another Place and Deliberate Times to recognize this. These tracks have more Wilsonian elements than Carnie Wilson’s DNA.

But aside from what KOMI music may be, the choice to hype it echoes Wilson’s descriptions turned sour promises that Smile would be the greatest rock album ever.

This could come back to haunt Cotolo, that is, if KOMI doesn’t backfire, as did Smile.

Ultimately, can any project live up to such hype? Can a CD that is being called "the most ambitious musical project to surface since sound became data" be anything but disappointing having to be created in the light of such praise? The Cotolo camp and fans are trying to create an atmosphere of excitement with KOMI as the Wilson camp did with Smile. One problem ensues, however.

The blatant and munificent flow of promotion concerning KOMI (as was the case with Smile) does not include any facts about the music.

Wilson had said, "I am writing a symphony to God and laughter." Cotolo’s promo blabber is similar,
even using the word "symphony." However, what the music might be like is not being talked about. In a recent Mayfair Mall interview, Cotolo gave away the title and a loose description of one KOMI song, but even then he only emphasized its self-claimed greatness.

Continued in next column

KOMI, coming out via Ampcast.com in July, 2002,  marks Cotolo's first all-digital project. His analog CDs and single releases over the past five years have come with some acclaim.

Here are some comments from critics and contemporary musicians:

"Frank’s music has that lovely long forgotten sound that you never seem to hear these days. Songs for lazy days and sunny mornings. –Little Linda, The Mayfair Mall

"Very interesting and diverse."–C. Hanson

"Ambitious arrangements and harmonies, virtuoso playing of every instrument (along with wife Kristen) and chord changes that you don't expect and make you rethink, re-evaluate, re-appreciate your views on music." --Kurt Van Hook

Another point of view, continued

Just as with Smile, the emphasis on KOMI is its general "feel," it’s noble theme which is supposed to transcend the music and ignite our spiritual buttons. This is not so much a collection of songs, we are led to believe, as much as it is a plug that connects into God’s wall socket.

No pressure.

Wilson, of course, failed to find the socket with Smile and left us holding the chord.

If we are to give any credit to Cotolo at this point in his game, we will do so by not comparing him to Wilson in one important sense.

Brian Wilson was heading for a nervous breakdown during Smile. He would soon be diagnosed as mentally ill; he would soon be embroiled in a fight for life.

Cotolo, on the other hand, is 51, a recluse by choice and, from what we know, a sound husband and father of two very young children.

Given those facts, we can assume that the chances of KOMI’s completion are much better than was the completion of Smile.

However, whether or not the project can break through the clouds created by the never-ending storm of self-praise and hype now raging from the Cotolo camp remains to be seen.

Or heard?

Read Les's review after he listened to the completed King Of Monkey Island CD

Jack Nicholson recalled the film-making efforts of Stanley Kubrick by saying, "You don't try to photograph the reality, you try to photograph the photograph of the reality."

This is similar to Cotolo's philosophy of recording music, at least through the KOMI project. Cotolo approaches every song as a vehicle to put on a stage of sound, adorned by specific arrangements and without the concern of reality.

"He has always rejected the idea of recording any piece of music to make it sound live," says one associate. "It's all about sound."

Kubrick's method translated to Cotolo's method is, "It's not about recording the reality of sound, but recording the  sound of the reality."

'Island' man about KOMI release
A brief talk with Frank Cotolo

Are you satisfied with the final product?

FC: As with any creation, you have to let it go at a given point and wonder what else you might have done. But yes, considering I lost much support along the way and many intentions were thwarted, I believe we have a special product, certainly unique in the current indie climate.

Why are you releasing it through Ampcast?

FC:  Quality. KOMI has been mastered at the same level as any commercial CD. These are not compressed files of music, but full-blown digital works that needed to be reproduced with the kind of excellence Ampcast offers.

Any free tracks to be offered?

FC: I'm sure we will offer at least one. Probably on EvO:R, with a link to where you can buy KOMI.

The cost?

FC: We had to settle for the lowest possible price, which turned out to be $13. Anyone buying the CD will get a free stereo cassette of SEVEN SQUARED, the 2000 project.