Review / 200 Words Or Less
Gaz Coombes
World’s Strongest Man

Caroline (2018) Kevin Fitzpatrick

Gaz Coombes – World’s Strongest Man cover artwork
Gaz Coombes – World’s Strongest Man — Caroline, 2018

It’s ironic that an album entitled World’s Strongest Man should show Gaz Coombes at his most vulnerable, but that’s precisely the point. Subverting expectations as both an artist and a man is a theme that runs throughout. It should then come as no surprise to hear that the album is said to be partly inspired by Frank Ocean’s Blonde - an album subverting an entire genre and redefining masculinity in a world where the bravado and braggadocio of “manhood” is sought to be proven at every turn. So, it’s here, on Coombes’ third album that he appears to have emerged from the chrysalis as the fully formed solo artist he was meant to be.

So many solo artist’s albums attempts at diversity come across as rough-hewn ideas thrown against a wall like undercooked pasta - hoping something, anything sticks. WSM is an confident, multi-faceted album that truly has something for everyone. Tracks like "Oxygen Mask" and "The Oaks" show a more self-assured, mature Coombes that could even be mistaken in parts for another fella from Oxford by the name of Thom Yorke. Coupled with the glorious swagger and groove driven contrast of tunes like "Wounded Egos" and "Deep Pockets" make it very clear that as an artist sometimes it’s not about finding any one particular safe niche, but embracing the diversity within one’s self and laying it bare for the world to see. 

Gaz Coombes – World’s Strongest Man cover artwork
Gaz Coombes – World’s Strongest Man — Caroline, 2018

Recently-posted album reviews

Lethal Limits

Elevate EP
GhettoBlaster Productions (2025)

The archival hunt for the "missing links" of first-wave California punk usually leads through a trail of grainy handbill Xeroxes and tape traders' overdubbed copies. But with The Flyboys, the story has always been a bit more elegant—and a lot more colourful. Long before they were swept into the gravity of the Hollywood scene, frontman John Curry was already performing … Read more

The S.E.T.

Self Evident Truth
Flatspot Records (2026)

Hardcore doesn’t need reinventing; just needs conviction. On Self Evident Truth, Baltimore’s The S.E.T. come out swinging with a debut EP that’s built on exactly that. It’s got groove, urgency, and a clear sense of purpose. Clocking in at around fifteen minutes, the EP wastes no time establishing its identity. From the opening moments of “This Chain,” it’s all forward … Read more

Dashed

Self Titled
Independent (2026)

When a band describes themselves as surf punk, it usually conjures a certain image. Reverb drenched guitars, sunburnt melodies, maybe even a sense of looseness that leans more carefree than chaotic. Dashed doesn’t really fit that mold. On their self-titled LP, they take those familiar elements and run them through something colder, sharper, and far less predictable. Across eleven tracks, … Read more