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Gaz Coombes

World’s Strongest Man – Hot Fruit masculinity under pressure

Hot Fruit, third solo, pressure in the voice

World’s Strongest Man arrived on 4 May 2018 as Gaz Coombes’s third solo studio album, issued on Hot Fruit Recordings with Caroline. It followed Matador (2015) and put the former Supergrass frontman back in the UK Top 15, peaking at No. 12. Coombes co-produced with Ian Davenport; tracking centered on Courtyard Studio in Oxford, with Craig Silvey mixing and Bob Ludwig mastering.

The title sounds like a boast. The record undercuts it. Coombes talked about Grayson Perry’s writing on masculinity, Frank Ocean’s Blonde, Neu!, hip-hop drums, and British woodland walks. Synth beds, drum loops, and textured guitars replace the bright Britpop rush of the 1990s. Hooks are there, but they unfold slowly under quiet vocals and stacked synths, not stadium choruses.

Lead single Deep Pockets set the tone in January 2018: paranoia, late-night motion, a clipped groove. Coombes shot and edited the video himself on a small budget in Los Angeles, staging a surreal car-pool ride to match the lyric. Walk the Walk and the title track keep that medium pace. Deeper cuts like The Oaks, Oxygen Mask, and Weird Dreams stretch into quieter pieces where anxiety and ego sit in plain view.

Caroline International handled wider distribution while Hot Fruit kept the indie stamp on the sleeve. Critics noted the shift from the lighter Supergrass rhythm toward adult unease: fewer shout-along choruses, more attention to how a loop and a vocal phrase share a bar. The album holds up on a second listen.

Inspired variously by Grayson Perry’s the Descent of Man, Frank Ocean’s Blonde, Californian weed, British woodlands, unchecked masculinity, Neu! and hip hop.

(Album announcement via NME, 2018)

Eleven tracks run about forty-two minutes. None of them runs long. They stay inside that length. Compared with Supergrass singles built for radio impact, this album favors restraint: dry drums, keys kept soft, guitars used as texture more than as the main riffs. That choice fits a songwriter in his forties writing about what strength looks like when the pose fails.

Live, Coombes took the songs to London and a US run after years of quieter solo gaps. The album did not chase chart fashion; it charted anyway and sat beside a wave of 2018 records that set laptop rhythms next to singer-songwriter detail. For listeners who only knew him from Alright and Caught by the Fuzz, World’s Strongest Man is the plainest picture of the solo work: melodic, uneasy, built with care.

It remains a useful checkpoint between Matador and the later Turn the Car Around. The title sounds like a joke at first. The songs treat it as a warning he left on the tape.

By the time Turn the Car Around arrived years later, this album already marked the point where Coombes trusted a medium pace over nostalgia. Later notes on the solo albums still use that point.