#Thom Coombes

[heavy-nfld]

EVENT ALERT: Barely There Yard Sale ft. Bread Clip, Thom Coombes, and Cable TV @ 31 Queens Road - Saturday, July 27th, 2024. 11:00 AM to 4:00 PM.

[jarvis-cockhead]

90s british indie frontman alignment inspired by the jarvis is an insect post

[thepermanentrainpress]

THOM COOMBES: BEDROOM BOOGIE

Bedroom Boogie – Thom Coombes Release Date: July 24th, 2020

Track Listing:

1. Pinball 2. Papercuts 3. That was a good one! 4. Placeholder 5. Mood Swing Set 6. Motel Tonight 7. Better in Brown 8. I Used to Listen to Music 9. Slow Swing Set

Bedroom Boogie is prime lo-fi bedroom pop. It was recorded on a four-track cassette in two homes, on two sides of the country over two years. This definitely gives the whole thing an atmosphere of care and patience in its composition. Currently based in Victoria, Thom recorded a lot of the album “while my sweetheart worked late at the hospital, and I, recently laid-off, took care of our pets and plants." Every part of the recording was done solo, making the whole project very personal. The somber tones, relaxing beats, and homemade production makes this album best enjoyed in your own home – a place we are all spending more time in 2020. 

The lyrics are witty, dry, and detailed. The style is a mixture of stories, poems, and inner reflections. Many of these tracks are a stream-of-consciousness style, almost like hearing slam poetry read aloud. They are so dense – particularly on the fifth and eight track – they're near philosophical. There's a lot to take in between the metaphors, puns, and messages. I highly recommend reading the lyrics on Bandcamp and/or repeat listens to get the full effect. Each track has lyrics except for the finale – an interesting choice to close with an instrumental. 

The melodies are soothing, simple, and original. I��d hesitate to classify all the synth and little beeps as experimental, but I wouldn’t call it mainstream either. The songs are very intimate, describing both mundane and serious situations. It’s not always happy, but it’s not bleak or depressing either. It’s slices of life in song form, the good and the bad. We take a journey with Thom, reliving moments and experiences in a way that resonates and feels natural. It is simply a trip into the singer’s inner mind.

Some of the songs are almost silly in their subject matter – things like failing to get a motel late at night or complaining about the colour of one's suit. However, the style of this means it never feels like a novelty. If anything, Thom gives these mundane situations substance and emotion. There’s a lot of feeling captured in the composition. He never sings in a projecting or emotional manner, but the presentation gives off these feelings anyway.

It’s hard to categorize this music because it’s such an independent, underground project. It’s not something meant to be danced to. All the songs are distinct, but the album’s style makes it much more enjoyable as a whole. The minimalist production gives it a timeless feel: you could tell me this album was made in any decade, although it definitely has a 90s vibe. 

You may find yourself identifying, laughing, or even cringing at the tales told here. I’m not sure who this music is made for—maybe for no one except the artist. However, that gives it more originality and unique status. It feels like a glimpse into Thom’s world; a place we can never understand the full experience of.

Written by: Cazzy Lewchuk

Bedroom Boogie by Thom Coombes

[howaminotinthestrokesyet]

Anyone Can Play Guitar: Colin Greenwood

The Radiohead bassist was born on June 26, 1969 in Oxford, England. One interesting fact was that historically the Greenwood family did have ties to the British communist party. Colin would say later that his sister deserves a lot of credit for exposing him and his brother to certain music. “She’s responsible for our precocious love of miserable music. The Fall, Magazine, Joy Division. We were ostracised at school because everyone else was into Iron Maiden." He would meet the other members of Radiohead excluding his brother at the Abingdon School. The bassist first encountered Ed O’Brien during a school production of the opera Trial By Jury. Greenwood received his first guitar at the age of 15, while at the same time he and the other members of the group studied under Abingdon teacher, Terence Gilmore-James. He would later say, "When we started, it was very important that we got support from him, because we weren't getting any from the headmaster. You know, the man once sent us a bill, charging us for the use of school property, because we practiced in one of the music rooms on a Sunday." Upon the creation of the band, he began playing bass almost out of necessity because they did not have anyone to do that. The guitarist taught himself by playing along to artists like New Order, Joy Division, and Otis Redding. From 1987 until 1990, Colin studied literature at the University of Cambridge. In late 1991, it was Greenwood, who would make the connection to get the band signed. He had been working at a record store when a chance meeting occurred with an A&R representative from EMI.

Besides playing conventional bass guitar, the guitarist also has proficiency at a variety of synthesizers and a double bass when it is necessary for a song. A question that often gets asked is how he gets along with his younger brother within the band. Collin once gave this answer. “It’s wonderful, it’s good, it makes my promise to keep an eye on him for my mother a lot easier, having him right next to me all the time. But he’s very easy to look after anyway, 'cause he’s very well behaved." The bassist has contributed on other albums besides Radiohead. The first one came with his brother Johnny’s soundtrack to the film Bodysong in 2003. Other artists include bandmates Ed O’Brien and Thom Yorke, Gaz Coombes. In 2013, Greenwood provided the soundtrack of a runway show for a prominent Belgian fashion designer, Dries van Noten. He has been married since 1998 to Molly McGrann, an American novelist and literary critic. The couple has three sons (2003, 2005, 2009).

[kraftwerk113]

Life´s too short for weird music - Jahresrückblick 2018

2018 – Don´t look back in anger

2018 lässt mich ein bisschen ratlos zurück. Zugegeben – die Erwartungen waren nach dem überragenden musikalischen Jahrgang 2017 hoch aber so richtig überzeugt haben mich die zurückliegenden 12 Monate nur bedingt. In Rückbetrachtung beschloss ich daher, wieder zur traditionellen Festive Top 50 zurückzukehren. Zur Erinnerung: aufgrund der prallen Vielfalt an hochwertigen Veröffentlichungen hatte ich 2017 erstmals eine Festive Top 100 veröffentlicht. Also 50 Tracks des Jahres? Kein Problem, es gab ja durchaus „Hörenswertes“ in 2018. Beim Zusammenstreichen der 228 Stücke aus 2018, die es in 2018 zu einer Nominierung als Tagestipp schafften wurde es dann aber unerwartet schwierig, exakt die 50 Songs des Jahres herauszufiltern. Steckt etwa doch mehr Qualität in 2018 als ich dachte?

2018 war in jedem Fall ein guter Jahrgang für elektronische Musik – allen voran der Schelmenstreich des Stefan Kozalla aka DJ Koze der mit „Knock Knock“ das irrwitzigste elektronische Sammelsurium der letzten Jahre ablieferte und dabei zig Gäste zu gesanglichen Höchstleitungen inspirierte. George Fitzgerald definiert in 2018 den Standard in elektronischer Housemusik mit dem Longplayer „All that must be“ und nicht zu vergessen – The return of Jon Hopkins, der mit dem fast 11 Minüter „Everything connected“ das Format elektronischer Musik komplett ausreizte.

Klassischer Indiepop und -Rock konnte in 2018 allerdings nur bedingt überzeugen – vielleicht noch das majestätische „Deconstruction“ von Eels früh in 2018, welchem allerdings das eher enttäuschende gleichnamige Album folgte. Auch Interpol haben mit „Marauder“ endlich mal ein Album mit zwei restlos überzeugenden Stücken vorgelegt (100 % Steigerung zu den Vorgängeralben). Das beste Indie-Pop Album kommt in 2018 aber von Death Cab for Cutie, obgleich „Thank you for today“ mit dem Schwerpunkt auf Indie-Pop – statt Rock insbesondere bei alten DCFC- Fans nur bedingt ankam. Gleich drei Stücke in den Life´s too short for weird music - Festive Top 50 von 2018 belegen jedoch, dass mir das Album durchaus zu gefallen wußte. Ansonsten viel Nettes an der Indie-Front (Honey Hahs / Geowulf / The Orielles), bei welchem ich mir nicht ganz sicher bin, ob ich dieses Stücke in ein paar Jahren noch fehlerfrei mitsingen kann...

Erfreulich und ärgerlich zugleich: mit „Camel Coat“ haben Saint Etienne, ihren vermutlich besten Song des Jahrzehnts eingespielt aber leider einem ganz elitären Kreis vorenthalten. Nur im Rahmen der Herbsttour 2018 in UK konnte die extrem limitierte Vinyl Single erworben werden.

Erfreulich aus deutscher Sicht – neben DJ Koze sind mit Station 17 und Barbara Morgenstern gleich zwei deutsche Acts, in den Festive Top 50 vertreten, die mit deutschen Texten arbeiten. Der Inklusionsansatz des Projektes Station 17 begeistert mich schon seit geraumer Zeit – allerdings bedurfte es schon eines Andreas Dorau um der Band mit „Schaust Du“ den vermutlich besten deutschsprachigen Popsong des bisherigen 21. Jahrhunderts zu entlocken. Auch Barbara Morgenstern steht weit außerhalb der üblichen Popmaschinerie – so weit, dass ihr leider nur in Bruchteilen die Anerkennung zukommt, die sie seit Jahren und in 2018 mit dem aktuellen Album „Unschuld und Verwüstung“ verdient hätte.

Ein kleiner Trend zeichnet sich in 2018 dann doch noch ab: genreübergreifend fließt Punk zumindest als Inspiration wieder in Musik ein. Ob bei den Goat Girls, den wackeren Sleaford Mods (die mit „Stick in a five and go“ knapp an der Festive Top 50 des Jahres 2018 vorbeischrammten) oder auch Slowthai – allen gemein ist ein gewisser Widerwille gegen die derzeitige politische und insbesondere gesellschaftliche Entwicklung. Wir könnten mehr hiervon in 2019 gebrauchen.

Und so kam es wie es kommen musste – zur unwahrscheinlichsten Nummer 1 der Festive Top 50 seit vielen Jahren. Hätten Sie mich im April 2018 damit konfrontiert, dass „Everyone acts crazy nowadays“ von Unknown Mortal Orchestra eben diesen ersten Platz einnimmt, hätte ich Sie zurück ins Reich der Fabelwesen geschickt. Doch über die letzten Monate hat sich „Everyone acts crazy nowadays“ ganz tief in meinen Gehörgängen festgesetzt und ist somit eine Nummer 1 die diesen Titel auch in ein paar Jahren zu Recht tragen wird.

Life´s too short for weird music - Festive Top 50 of 2018

01. Unknown Mortal Orchestra / Everyone Acts Crazy nowadays

02. Wild Nothing / Letting go

03. Friendly fires / Love like waves

04. The Vryll Society / Light at the end of the world

05. George Fitzgerald / Nobody but you (feat Hudson Scott)

06. DJ Koze / Illumination (feat Rosin Murphy)

07. Saint Etienne / Camel Coat

08. Superorganism / Night time

09. Eels / Deconstruction

10. Death Cab for Cutie / I dreamt we spoke again

11. Teleman / Submarine life

12. The Wombats / Oceans

13. Thom Yorke / Unmade

14. MGMT / She works out too much

15. DJ Koze / Bonfire

16. Death Cab for Cutie / Northern Light

17. Disclosure / Ultimatum (feat Fatoumata Diawara)

18. Gaz Coombes / Wounded egos

19. Tracyanne and Danny / Alabama

20. tUnE yArds / Heart Attack

21. Blood Orange / The Saint

22. Tunng / Dark Heart

23. Simian Mobile Disco / Hey Sister (feat. Deep Throat Choir)

24. Geowulf / Drink to much

25. Station 17 / Schaust Du (feat Andreas Dorau)

26. Dubstar / Love comes late

27. Mathew Dear / Bunny´s Dream

28. Piroshka / Everlastingly yours

29. Moby / Falling rain and light

30. Radidas / Miles per yeah

31. Death Cab for Cutie / Gold Rush

32. Capital Cities / Levitate

33. Launder / Annie blue

34. Goat Girl / Cracker Drool

35. Belle and Sebastian / The same star

36. Honey Hahs / Stop him

37. Underworld / Bells and Circles (feat Iggy Pop)

38. Jon Hopkins / Everything connected

39. Orbital / Tiny foldable cities

40. International Teachers of Pop / Age of the trains

41. Xul Zolar / Cloth

42. Barbara Morgenstern / Triggerpunkt

43. The Orielles / Old stuff new glass

44. Karen O and Danger Mouse / Lux Prima

45. Everything Everything / Breadwinner

46. US Girls / Rosebud

47. Gorillaz / Hollywood

48. Suede / Wasteland

49. Blossoms / I can´t stand it

50. Slowthai and Mura Mara / Doorman

[nazrisg]

#Britpop #WhenMusicWasAwesome 1. James Dean Bradfield 2. Jacqui Blake 3. Carrie Askew 4. Louise Wener 5. Luke Haines 6. Norman Blake 7. Sonya Madan 8. Darren Hayman 9. Miki Berenyi 10. Martin Rossiter 11. Cerys Matthews 12. Tjinder Singh 13. Jools Holland 14. Lauren Laverne 15. Brett Anderson 16. Brian Molko 17-18. Pulp’s showgirls (“This is Hardcore” video) 19. John Peel 20. Begbie (Trainspotting) 21. Sick Boy (Trainspotting) 22. Spud (Trainspotting) 23. Renton (Trainspotting) 24. Gaz Coombes 25. Sadie Frost (“Common People” video) 26. Sarah Cracknell 27. Lee Mavers 28. Damien Hirst 29. Oasis’ dummy (“Wonderwall” video) 30. Oasis’ clown (“Wonderwall” video) 31. Tony Blair 32. Richard Ashcroft 33. Thom Yorke 34. Jonny Greenwood 35. Danny Boyle 36. Noel Gallagher 37. Liam Gallagher 38. Graham Coxon 39. Jarvis Cocker 40. Candida Doyle 41. Damon Albarn 42. Justine Frischmann 43. Kate Moss 44. Blur’s milk carton (“Coffee & TV” video) 45. Super Furry Animals’ raccoon

[bixpicks]

Bix Picks 2018

20. Melody's Echo Chamber - Bon Voyage (Fat Possum)

French psych-rock/dream-pop Sung mostly in English, backed By Swedish players

19. Stuart A. Staples - Arrhythmia (City Slang)

Hypnotic mood piece Understated to a fault A quiet disco

18. Thee Oh Sees - Smote Reverser (Castle Face)

Two drums, axe, bass, keys Amps turned up to eleven Prog rockin' POWER!

17. The Green Child - The Green Child (Upset the Rhythm)

Dystopian pop That could soundtrack a scene in Tron: The High School Years

16. Armand Hammer - Paraffin (Backwoodz Studioz)

Gritty beats and tight, Street-level rhymes invoke the Classic Def Jux sound

15. Rolling Blackouts Coastal Fever - Hope Downs (Sub Pop)

Efficient jam band? Or meandering pop rock? Kinda works both ways 🤔

14. Vince Staples - FM! (Def Jam)

Back to his old tricks Less electro than Big Fish... And better for it

13. Parquet Courts - Wide Awake! (Rough Trade)

A funky winner From anxious New York rockers And fuck Tom Brady!

12. Beak> - >>> (Temporary Residence)

Clean tones subverted By an off-kilter wooze and Vocals from a well

11. Gruff Rhys - Babelsberg (Rough Trade)

Widescreen arrangements On par with pop's golden age And songcraft to match

10. Gwenno - Le Kov (Heavenly)

Lush, sonic dreamscapes Sung in her native Cornish... Not that you'll notice

9. The Good, the Bad & the Queen - Merrie Land (Studio 13)

A haunted fairground Of England's past, present...and Possible future?

8. Gaz Coombes - World's Strongest Man (Caroline)

Ex-Supergrass head's Wry take on midlife concerns And functional angst

7. Jeff Tweedy - WARM (dBpm)

A raw, unflinching Look within, without and at A life lost and found

6. DRINKS - Hippo Lite (Drag City)

Post-punk kooks wield a Strange idioglossia To wondrous results

5. Colter Wall - Songs of the Plains (Young Mary's)

The new old Country Just not the country you'd think "Country" would come from

4. Pusha T - Daytona (G.O.O.D. Music/Def Jam)

With Ye back choppin' King Push spits his fiercest rhymes In a decade. YECHHHH!!!!

3. Spiritualized - And Nothing Hurt (Fat Possum)

In which the Spaceman Bequeaths upon us once more A space rock opus

2. Ty Segall - Freedom's Goblin (Drag City)

A sprawling double Top notch quality control And horns never hurt

1. Earl Sweatshirt - Some Rap Songs (Tan Cressida/Columbia)

Earl works through some shit Maybe not for everyone Maybe that's the point

HONORABLE MENTION (in alphabetical order)

Arctic Monkeys - Tranquility Base Hotel & Casino (Domino) Daniel Blumberg - Minus (Mute) Jonathan Bree - Sleepwalking (Lil' Chief) Foxwarren - Foxwarren (Anti-) Hermit & the Recluse - Orpheus vs. the Sirens (Obol For Charon) Scott Hirsch - Lost Time Behind the Sun (Scissor Tail) Mark Lanegan/Duke Garwood - With Animals (Heavenly) Stephen Malkmus and the Jicks - Sparkle Hard (Matador) MGMT - Little Dark Age (Columbia) milo - budding ornithologists are weary of tired analogies (Ruby Yacht) milo/Elucid - Nostrum Grocers (Ruby Yacht) Palberta - Roach Goin' Down (Wharf Cat) Alasdair Roberts, Amble Skuse & David McGuinness - What News? (Drag City) Shopping - The Official Body (Fat Cat) Richard Swift - The Hex (Secretly Canadian) Szun Waves - New Hymns to Freedom (The Leaf Label) Unknown Mortal Orchestra - Sex & Food (Jagjaguwar) Kurt Vile - Bottle It In (Matador) Yo La Tengo - There's a Riot Going On (Matador) Thom Yorke - Suspiria: Music For the Luca Guadagnino Film (XL)

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[delicasseten]

ντελικασσέτεν 22.10.18 | Of Mice And Men Whispering Sons - Got A Light Public Practice - Fate / Glory Young Jesus - Bell Ohmme - Grandmother Moaning Lisa - Carrie (I Want A Girl) Primo - You've Got A Million Ty Segall - Class War Personality Cult - Motivation Gruff Rhys - Oh Dear! Suede - Cold Hands Roxy Music - The Thrill Of It All Thom Yorke - Has Ended Beach House - Alien Franz Ferdinand - Finally Gaz Coombes - Deep Pockets Josh T. Pearson - A Love Song (Set Me Straight)

[earpeeler]

Stage Left Podcast – Danny Goffey - Supergrass (The Lost Interview)

Stage Left Podcast – Danny Goffey – Supergrass (The Lost Interview)

Recorded December 2015, the lost interview is finally released with the incredibly talented drummer & songwriter of Supergrass, Danny Goffey, who details recording with Paul McCartney, Elvis Costello, Thom Yorke, Jonny Greenwood & Nigel Godrich. We hear about Danny’s solo album recorded under the moniker ‘Vangoffey’, how he and Gaz Coombes wrote the classic ‘Alright’, the story behind recording…

[chcdmotorvational-blog]

#LotsGoingOn ... Max Marshall & Thom Coombes at Grimross Grimross Brewing Co JUN 11, 2017 2:00PM Storytelling set to fingerstyle guitar...Exploring the many hidden nooks of Canadian Folklore.. $10 at the door http://ow.ly/MO3530ckbuM

[theuglyvision]

Robert Crumb inspired tour poster for Max Marshall and Thom Coombes.

[grayowlpoint]

Finding the right words to describe A Perfect Day For a Mall Date is almost as difficult as consciously listening to all 23 tracks on the album. With such a great breadth of tunes to get lost in, you won’t realize you’re listening to the same album unless Coombes’ voice is murmuring in your ears.

Read our full review of Thom Coombes’ A Perfect Day for a Mall Date here. 

[noahjakebender]

[noahjakebender]

[noahjakebender]

Thom and the Tomcats