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Here Come the Bombs
Customers Who Bought This Item Also Bought
|2. Hot Fruit|
|4. Sub Divider|
|5. Universal Cinema|
|7. White Noise|
|9. Break the Silence|
|10. Daydream On a Street Corner|
|11. Sleeping Giant|
2012 debut solo album from Supergrass main man Gaz Coombes. Here Come The Bombs delivers melodic Indie-Rock in the same vein as his former band. The album was produced with Sam Williams and recorded in Coombes' home studio and at Williams' Temple Studio in Oxfordshire England.
Most Helpful Customer Reviews on Amazon.com (beta)
The title track is a subdued and haunting lead in for what is to come. Using imagery that presents us with the perspective of a bomb breaking away and falling to earth, the sweeping strings and vocals sit atop a metronomic synthetic ticking that is audibly visible as the song begins and ultimately winds down.
Track two, titled Hot Fruit, is anchored by a synth loop that follows the melody throughout the entire song and has enough punch in the chorus to make it worthy of being a single. A soft bridge splits the song, but it soon builds back up to an attack level as it drives towards the conclusion.
The third track, Whore, uses an off-kilter driving beat to stumble gloriously through each verse while treating the listener to choruses made for shaking a tambourine, clapping or just going mental. The title is about the concept of unwanted or unfortunate (but inevitable) compromise in case anyone was looking at the name with trepidation. It is a rocker of a track.
Sub-Divider was released to the public as a free download when the Gaz Coombes Presents website went online, and it is an amazing track. It has two distinct parts (similar in architecture to the way Tales of Endurance was arranged) with the second half taking off towards a climactic end. It is a perfect example of just how amazingly talented Gaz Coombes is when it comes to designing and developing a song.
Universal Cinema is hard to describe as it has some very mellow attributes while hiding a few powerful sections lurking like a demigod riding a rhinoceros into a clearing. The reverb is heavy and the guitar is expertly layered in. There are some nice harmonies, a handful of Beatle-esque backward guitar layers and an abundance of talent evident. This is one to listen to and soak up like a technicolor puddle in the desert.
The next track, Simulator, uses low-gain guitar and a pretty fast tempo to run through each verse only to have the chorus stomp through the experience. It is a fun song and rumored to be the next single following Hot Fruit. This one is another rocking tune that winds down quickly and beautifully at the end.
I saw some video footage of White Noise before the song was released and it stood out as much then as now. It is a somewhat mellow offering that you nod your head to as it winds along. The harmony tracks that ride the current of the lead vocals are really brilliantly done and a few more tastefully inserted backwards guitar effects add to the mix. Not a rocker, but an important asset to the collection.
Fanfare may appeal to some, so I won't poison the review with anything overly negative. It is very synth oriented (not a bad thing in itself, so don't get me wrong) and not really sung so much as it is spoken. It is neither a rocker nor a dreamy free-fall... It is my only non-essential in the whole bunch, but we all have our own preferences when it comes to this stuff so we'll leave it at that.
The song Break the Silence returns us to the brilliance that is the Gaz Coombes song writing/delivering experience. The beat is pure pop, the synths are something out of Goldfrapp's best rhythms and the scope is as grand as they come. I think this one could easily have been a great single as it has so many appealing and catchy elements one can't help but get caught up in the thrills.
The instrumental Daydream on a Street Corner is a soft sleepwalk towards the final track. Keyboard oriented and close to a lullaby in the way it is delivered, it sets the tone for the closer.
Sleeping Giant leads the listener towards the dreamy conclusion of a nearly perfect collection of songs from Gaz Coombes. I can sometimes almost hear John Lennon in the vocals, though I'd probably be doing a disservice to Gaz Coombes. It winds things down and when the final notes drop you feel like you've completed a journey.
I've attempted to avoid most comparisons to previous endeavors, but only because I've often hated hideously negative comparisons people make when a band goes in a new direction or a solo effort does not mimic former glory days. Having said that, I can honestly say that Here Come the Bombs was and is a pleasure to listen to.
To find a collection that has a couple great songs is common and to stumble across a release that has a handful of really good songs is rare. The artist who puts out a new offering where nearly every song is really, really good is almost unheard of these days. Gaz Coombes delivered the unheard of with Here Come the Bombs... it is a masterful collection from an immensely talented guy.
'Road To Rouen' didn't turn out as bad as I feared and in fact had some great songs on it but the seeds of 'what are we about?' had been sown in the band's mind and ultimately produced the failed crop that was 'Diamond Hoo Ha'. After listening to that collection of songs as much as I could bear, 'Diamond' became the first Supergrass album that I didn't buy.
It seems that the Hot Rats covers album with Supergrass drummer Danny Goffey and producer Nigel Godrich have provided revitalization and inspiration for Mr. Coombes as he returns to his own songs with added vigour.
With a mixture of surprise and delight I find myself feeling that with his first solo outing Gaz Coombes has produced an album of greatest hits. Some of the songs here would sit very well on your favourite Supergrass release while others use that standard as a jumping off point to greater heights. Many of them have several parts (not simply verse, chorus, verse) and all of them build on what's gone before which increases the pleasure of each song.
It's an odd comparison but the amount of creativity here reminds me of early Genesis - like them or not, they wouldn't hold back when it came to song writing, preferring to throw every great idea that they had at a particular time into one song. There are so many great bits of music here that another artist might have reserved some to make more songs out of them later, or even another album. You have to give Gaz Coombes credit for the standard of his song writing and then, on top of that, throwing everything and the kitchen sink into this record - and yet there's a cohesiveness to the whole set. It's nothing short of thrilling.
My favorite Supergrass album is 'In It For The Money' and what Gaz Coombes has produced here equals if not exceeds it. It's just jam-packed with great tunes. Without doubt it's the album of the year so far.
So the next question you might ask of me could be why not 5 stars dear sir for such an artist you admire so very much? Well, this because Gaz is being punished for being in such a wonderully amazing band prior to this solo album. Is Here Come the Bombs to the level of Supergrass? No. Even the weakest Supergrass album, i think is better than this album BUT this is very much worthy owning if you dug Supergrass. Gaz still sounds great and there are some real defining moments of fantasticness on this album (whore comes to mind) The other reviewers who go into great depth, will break it down for you in a deeper way but i just wanted to toss out a review for a talented artist to let folks know it is an album worth owning IF you already have the other Supergrass albums.
It is kind of like Supergrass meets a darker more futuristic vibe, almost Gorillaz like.
A must listen for a Supergrass fan.