Twenty years on from the era defining Britpop movement, many of its key players are still proving themselves to be a creative force.
Damon Albarn continues to tick off an endless list of musical projects, Noel Gallagher is readying the release of his second solo record and the Manic Street Preachers are still going strong.
Yet, what about the occasionally overlooked Supergrass? Well, to update you: former frontman Gaz Coombes has just written the finest song of his post-Supergrass career. The track, ‘20/20‘, from new album ‘Matador‘ is a big fat shot in the arm for Coombes connoisseurs and immediately shrugs off any fears that his new release is in danger of falling victim to ‘second album syndrome’.
Those who delved beyond Supergrass’ buoyant pop anthem ‘Alright‘ will be familiar with Gaz’s flashes of murkier songwriting territory, explored on the band’s self titled third album and their fourth, ‘Road To Rouen‘. Many tracks on ‘Matador’ revisit this more sombre side to his craft, yet are somewhat refreshingly detached from the sound that we associate with his past.
The haunting, atmospheric ’22/20′, complete with trademark Gaz ‘ooohs’, is a forward-thinking effort with echoes of Radiohead, whilst retaining his distinguished songwriting hallmarks. It’s a sound dabbled with on the debut solo album ‘Gaz Coombes Presents: Here Comes The Bombs‘, but here it is fully realized. Its chorus explodes into a euphoric climax that’s begging to soundtrack a dramatic space film scene.
‘Buffalo‘, a song already previewed, shares the ’20/20’s grandiose appeal and picks up where tracks like ‘Bombs‘ left off on the first album, whilst elevating it all to a new level. The track takes you on a rollercoaster ride of what sounds like three solid ideas colliding into one majestic oeuvre. The epic ‘Seven Walls‘ is a dreamy number that floats along before taking you by surprise with another colossal heartfelt chorus.
The album is a daring departure from his solo debut and takes some risks which largely pay off. Guitars are not as prominent for a start. What does remain though is the consistency in Gaz’s voice, which as usual is faultless. It’s a less commercial sounding album than ‘…Bombs’ and not as immediate, which is by no means a criticism, but those craving a sugar coated album of catchy hits may be left feeling crestfallen. Even those who are seduced by this new direction may struggle to fall in love with a couple of the tracks, but there isn’t enough to overshadow its merits.
Elsewhere on the album we find Coombes in more familiar territory with the likes of ‘The Girl Who Fell To Earth‘, a stripped back acoustic driven effort that boasts a sweet melody underpinned with solemn lyrics. This is about as close as we get to his roots, but sprinkled with production magic this sits comfortably in the context of the album.
Gaz Coombes is a much needed presence in a landscape of dreary male singer-songwriters and throw away pop, and ‘Matador’ is a reassuring sign that he remains on track to prove himself as a solo artist.
In fact, you might say he’s doing alright.
