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

Sahan Jayasuriya

Don’t Say Please: The Oral History of Die Kreuzen
Feral House (2026)

For those of us who spent the mid-to-late 1980s navigating basement community halls, churches, and loveable, armpit-smelling dive bars, the name Die Kreuzen was a permanent fixture on the punk rock radar. They were the sound of the Midwest underground --too fast for the goths to do their spooky Bela Lugosi "shoo the bats away" interpretive dance, too technical for … Read more

Sewer Urchin

Global Urination
Independent (2025)

There’s a fine line between crossover thrash that feels dangerous and crossover thrash that just feels like a party. Global Urination doesn’t bother choosing because it does both loudly and without apology. St. Louis’ Sewer Urchin have been grinding since 2019, and on their latest full length they double down on everything that makes the genre work. They give us … Read more

Ingested

Denigration
Metal Blade (2026)

For a band that built its name on sheer brutality, Ingested have spent the last several years refining what that brutality actually means. With their newest release, Denigration, the band finds that continuing evolution. They’re still punishing, still precise, but noticeably more controlled and deliberate in how it all lands. From the outset, the record makes its intentions clear. “Dragged … Read more