Verse, Chorus, Monster!: Graham Coxon

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Coxon spelar också gitarr på Pete Dohertys debutalbum och pratar väldigt varmt om honom, trots allt som skett kring the Libertines och Doherty som privatperson. Much has been written about the tensions within the band at certain points but this is largely skimmed over within the book, very little opinion is ever given, Graham sugar coats the facts. even if you do not listen to blur or grahams music, you should definitely read this as it talks more about sobriety and struggles through fame than the music itself. I was drinking a lot because that was the only thing that knocked off the anxiety, but then I just couldn’t stop. Influence is not the be-all and end-all, but Coxon details where he finds himself, particularly on his solo records, and the need to kick up a storm and noise.

The fact that the sometime Blur guitarist — as well as score composer and one half of the Waeve with partner Rose Elinor Dougall — has chosen to reveal anything about his personal life in something as public as a memoir is a surprise.

The two had met at school in Colchester, Essex, decamping to art college in London where they found themselves at the centre of two creative movements: the Goldsmiths’ art set that would become the YBAs, and the bands who would spearhead a new sound. When ‘She’s so high’ was released, it was as though they were issuing the permission to join their cool gang to stare at the floor, and gently reflect on life whilst noticing the beauty of the world… and then as I grew, they evolved and boy did they look up from the shoe gaze, and fully embrace/part dictate 90s culture… but the quiet guitar player was still the shoe gaze, introspective talent on the side, that didn’t seem to be as naturally lairy through the changes - how unfair was the Frankie Boyle description that left this influencer at the end of the comedy descriptive list as an unknown quantity?

Oasis were seen as genuine, rough-diamond examples of the working-class North, while Blur were cast as Southern, arty-farty, pretentious gits. Putting myself in other characters gave me a strange freedom to say things that Graham Coxon wouldn’t say, to attempt to sing things he probably wouldn’t feel comfortable attempting.Och eftersom jag tänker att ingen som följer mig här kommer läsa den själva kan jag summera det mest värdefulla här, så slipper ni all bullshit där emellan. Instead, it’s an audio companion for Coxon’s new comic book of the same name, which collates 15 different stories of sci-fi “kitchen sink drama”, each with its own corresponding track.

Graham grew up as an Army kid,” it continues, “Moving frequently in his early years from West Germany to Derbyshire and Winchester before settling in Colchester, Essex. The famously shy musician is one of the most acclaimed in the UK, both as a solo artist with nine albums to date, and as one quarter of Blur. Graham Coxon manages that with his solo work, Blur reunions and his recent memoir, Verse, Chorus, Monster! There’s also a hint of the Eighties on songs such as “LILY”, which wouldn’t sound out of place on a sci-fi soundtrack or even a Duran Duran album.Graham Coxons självbiografi är inte ett mästerverk, en poesisamling eller en bok värd att vinna nobelpris. He would turn in a stellar and emotive guitar solo on the record’s closing track, Battery In Your Leg – “a ballad for the good times”, as Albarn sings, having penned the song in honour of his struggling bandmate – but recused himself from further duties. One flashpoint was Blur’s 1995 hit Country House – ostensibly a satire on success – and its Damien Hirst-directed video.