And while the inherent constraints of a soundtrack meant that Coxon couldn't always indulge his most spontaneous and radical urges, it is full of unexpected, genre-hopping turns that attest to his wildly eclectic influences, multi-instrumental virtuosity, and voracious love of music and visual art. More recently Coxon retreated to his attic studio to concoct the soundtrack to the Netflix series The End of the F***ing World. And the momentum born from the reunion carried through a 2012 London Olympics-closing show at Hyde Park and 2015's The Magic Whip-an album Coxon shepherded to completion using jams from a spontaneous but incomplete 2013 Hong Kong recording session. But as any viewing of that year's shows at Glastonbury or Hyde Park reveals, the reunion was hardly casual opportunism. Albarn, meanwhile, took the post-modern fusion concepts hatched on 13 and ran as the multimedia phenomenon Gorillaz.Ī 2009 reconciliation between Coxon and Albarn found Blur risen from the ashes. Coxon became a prolific solo artist, turning out eight superb albums (on which he typically played every instrument and part) that traded in lo-fi art punk, dynamite power pop, and fleet-fingered acoustic Albion folk. Indeed, the sound of Coxon bursting at the seams-alternatingly weaving chaos, squall, and filigreed beauty around Albarn's pop ideas-became the backbone of much of Blur's most vital and enduring work.īy 2003, the white-hot energy that drove Blur consumed them. Yet for all the discord Blur's success stoked within the band (and among boyhood friends Coxon and Albarn, in particular), it led to fruitful creative tensions. Like Nirvana a few years before them, Blur brought indie aesthetics and ideals to the masses, often with uncomfortable and unintended consequences. “A lot of that freedom in the playing comes from art school. Blur's live shows, meanwhile, revealed that Coxon could move from Gilmour-scale grandeur to hardcore punk thuggery and unhinged sound sculpture-sometimes in a single song. His restless sense of experimentalism blossomed and thrived on Blur and 13, as Albarn warmed to Coxon's American indie fascinations and the band embraced shared affections for dub, electronica, African pop, hip-hop, and folk. To fans who stayed on or joined anew for the post-Britpop LPs Blur and 13, or caught the band live, Coxon's skills became profoundly apparent. And his ability to channel those divergent influences via a vivid musical imagination and raw, instinctive virtuosity made Coxon a potent, protean, and artful guitarist in a British scene that could be pathologically regressive. indie, Canterbury prog, free jazz, krautrock, the Kinks, the Fall, and My Bloody Valentine. Like '60s British players who assimilated American blues and international influences to brew their own pot of gumbo, Coxon wed his love for unbridled American iconoclasts like Sonic Youth, Dinosaur Jr., and Yo La Tengo to a foundation built on the Smiths and U.K. Songs from Parklife and The Great Escape-records that virtually defined the cultural earthquake called Britpop-were so overflowing with hooks, brass, bubbling synths, radical song-to-song stylistic shifts, and Damon Albarn's characters writ in boldface that Coxon's fretwork could seem relegated to the sidelines.īut for those who listened deeper and looked beyond the mania surrounding Blur at the time, Coxon's hit-and-run shards of chord deconstruction, Fripp-fired leads, and impeccable sense of rhythm and timing were nuggets of pure musical treasure. At the apex of Blur's mid-'90s superstardom, a casual listener could be forgiven for failing to hear Graham Coxon's guitar brilliance.
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