Music Head did the new Damon Albarn one, so i thought i'd do the new album for fellow
ex-Blur member Coxon....
Coxon was the principle writer for that band and has released seven solo set prior to this one since the demise of Blur...
this is the only one i have heard in its entirety....wish i hadnt!!!!!
although numerous tracks here have the same melodies as a lot of the Blur material i find it stained with the same
bullcrap 'sonic' sounds that Paul Weller is using on his latest release "sonic kicks"...and i do not like that one neither!
maybe this is the way a lot of UK bands are going to lean towards over the next year or two as both Weller and Coxon
are both big influences on modern UK artists...i hope not, but maybe they see something in those sounds that i dont!
all up, not much on here to get me excited with a rating of 1.4, compared with the converted 2.7 from the allmusic pros!!!

running for your life audio

what'll it take vevo video

Bio and Review courtesy of ""

by MacKenzie Wilson
He's the guitarist of one of London's most delightful Brit-pop bands, and Graham Coxon is the quiet one. As the chief guitarist of Blur, his sheer and jointed guitar riffs made him a distinctive part in leading the four-piece into alternative creative outlets, not to be overshadowed by the popular hysteria painted by the press. Noticeably, Blur went from cockney rebels to experimental intellects throughout their growing roster of material during the mid- to late '90s. Still Coxon wanted to steer into another musical invention. Expectations and personal wishes led him to throw his energy into a solo career. It was a side project of sorts, a loophole for Coxon to streamline his own ideas his own way.

Blur enjoyed mainstream success in America with "Song 2" from their 1997 self-titled release. Coxon's musical influences start to appear during this time, elements of American indie rock (Pavement, Pixies, Sonic Youth) shower through the band's work. It was shortly thereafter that Coxon founded his own label, Transcopic and released The Sky Is Too High in 1998 (the album was released on Caroline stateside). His straight-ahead lo-fi sound and post-punk yearnings were finally captured on a glowing debut, a favorite among the college charts, but still a stifling move for die-hard Blur fans. No one was sure what to make of Coxon's solo motivation. Unfortunately, a year later, it was brushed aside by the release of Blur's sixth album, 13. Coxon remained the quiet one, despite his deepest efforts to make his most artistic side more apparent. But keeping up with the speed of things, Coxon put all things Blur aside to release his second LP, The Golden D, in mid-2000.

Two years later, Coxon shocked Blur fans around the world by announcing his departure from the band. Recording for Think Tank had just gotten underway in Marrakesh, Morocco; however Coxon had already grown distant, personally and creatively, from the rest of the band. In turn, he fell back on his solo career and focused on fatherhood. His fourth album, Kiss of Morning, appeared in October. Two years later, Coxon hooked up with producer Stephen Street for his biggest solo achievement yet. Happiness in Magazines was released in May 2004. Love Travels at Illegal Speeds appeared two years later and was followed in 2009 by The Spinning Top. The guitarist returned in 2012 with the more experimental, Krautrock inspired album, A+E.


by Stephen Thomas Erlewine
Snapping out of his folkie fixation, Graham Coxon returns to the fractious guitar skronk of his early solo career on A+E. There's a world of difference between the honed propulsion of A+E and the unformed sketches of his early works: there's plenty of mess here but it's purposeful, sometimes threaded into a steely stiletto, sometimes hanging off the song skeletons like shredded entrails. All the noise comprises sonic brush strokes; it's part of the way Coxon paints his aural picture, and where he was delicately impressionistic on The Spinning Top, he's splattering paint on the canvas here, creating bright, messy, modernistic art. But A+E is not a willfully alienating record -- there's giddiness in its cacophony, in how the guitars grate against the Teutonic rhythms, and the album is hardly an exercise in raw, joyful noise. Beneath all the clatter, A+E has the pop punch of his pair of Stephen Street-produced mid-2000s masterworks Happiness in Magazines and Love Travels at Illegal Speeds, and the combination of precisely crafted pop and fiercely imaginative arrangements results in a thrilling listen.