Verse, Chorus, Monster!: Graham Coxon

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Verse, Chorus, Monster!: Graham Coxon

Verse, Chorus, Monster!: Graham Coxon

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För att fylla upp sidor, istället för att beskriva VIKTIGA saker, beskriver Coxon alla av hans personliga intressen som vi som läsare inte alls är intresserade av.

Men ändå känner jag inte han för jag har aldrig sett han i situationer eller minnen som stod ut (mer än deras möte) som på så sätt skulle grunda han som en figur i Grahams liv. Jo, ja, jag vet saker som jag inte viste förut, men dessa sakerna skapar inte en större bild på han eller han omgivning. I particularly enjoyed Graham's obsession with making music and his writing about all the musical influences and experimentation with sounds.It doesn't feel guarded, but, on the whole, it feels a bit like Coxon wrote it with the task of telling his history, rather than telling us about himself. Tack Graham Coxon, du har nu tagit några tiotal av timmar från mitt liv som jag nu aldrig kan få tillbaka.

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?Graham Coxon och Damon Albarn möttes första gången under sin skolgång, mest för att Coxon var den enda på hela skolan att spela saxofon, vilket redan då resulterade i starten på ett gemensamt musikprojekt och senare ett band.

Quite a few people from all sides got involved in the situation, except the person responsible for the festivities. Hans olika pedal set-ups, vart han spelade in hans skiva, vem som äger studion, alla olika inspirationer till skivan, alla gånger han har mött dem, alla instrument som användes till skivan, vem som spelade dem osv, osv. i would love a more of a deep dive in his inspo and process, otherwise here it just ends up sounding like an endless list at times and just a paragraph dedicated to a particular project that doesn't rlly get to the essence of anything at all. If he would be honest with himself and the reader, the book would come out something like 'Diary of an Oxygen Thief'.Början består mest av minnen, och jag tyckte det var den bästa delen av boken- jag fick verkligen förstå han.

Otherwise it is 'Welcome to my twisted mind', which is not particularly twisted, and looks ridiculous when performed by an adult. The Blur years are very unsatisfying, with big chunks missing - he was also quite mean spirited towards Damon, I felt, if not very bitter. This figure is present but not dominant throughout, and the book is at its strongest when Coxon talks about his own mental health struggles, and how he has worked hard to understand himself in response. It does, however, retell a set of familiar tales – Britpop, the madness that is fame, band strife, addiction – with disarming candour. Like the feminist punk scene in the 90s, folk was another tribe from which Coxon (the notional “pop star”) expected a rebuff.In music, though, he found a tribe, and in alcohol, a balm for his deep-rooted anxiety and the “constant buzz of embarrassment”. I think I'm rating this one a bit highly because I see so much of myself reflected in Graham Coxon that it's a bit scary and I have for a couple of years now. It appears some reviewers, here and elsewhere, are disappointed that the book does not 'reveal the truth' behind the Blur break up, or more about his love life.



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