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Simon Comber

Simon Comber Radio

Bio:

March - 2011

Simon Comber's first album Pre-Pill Love (2006) introduced New Zealand to a songwriter of quiet insight and shrewd economy. Written whilst Comber was based in Dunedin, but co-produced back in Auckland with Edmund Cake, it was a tale of two cities. Predominantly acoustic songs like Early Spring Rain, Sunday Horrors and Marylands said what they had to say (on topics ranging from watching horror movies with the one you love to child abuse) and got the hell out, occasionally not even breaking the 2 minute mark.

His second album Endearance, reversed the geographics of the debut, being written in Auckland and recorded back down south by sonic sculpter Dale Cotton. His sophomore album demonstrated that Comber had grown more comfortable taking his sweet time in a song, with some stretching out past the 5 minute mark. His love of narrative songwriting had not diminished, with songs like The Jaws of Life and Please Elvis staring down the barrel of family dysfunction with characteristic lyrical candour, but the guitars made their presence felt more, and not just because they were now amplified. The title track was (surprisingly enough for an artist acclaimed as a lyricist of “almost forensic precision”) a hymnal solo guitar instrumental influenced by, as Comber said, “the hours of peace and wonder I’ve got from listening to John Fahey and Loren Connors.”

Having done two national tours to promote Endearance in 2010, Comber once again returned to the empty page and the recording studio. His forthcoming release is a shorter batch of songs – a 5 track E.P entitled The Right to Talk to Strangers, recorded and co-produced by Auckland-based musical renaissance man Thomas Healey (whose C.V includes working on recordings with Die Die Die and The Pop Strangers, playing guitar for The Verlaines, and penning his own tunes for The Low Spark and new solo project Paquin). Lead single New Day combines chiming guitar arpeggios and yearning synth lines with a 3rd person narrative about the difficulty of connecting with one’s fellow humans. “Love is all around” Comber sings, coupling it with a sucker punch: “Sedated, gagged and bound.” Twin Insomniacs starts off sounding like Neil Young circa the Dead Man soundtrack – with lyrics. Just over two minutes in and it’s segued into a brooding e-bow driven rock band number – without lyrics. Two more original numbers (the dreamy, lilting ode to romantic masochism Here I Go Again, and the bona fide jangle pop of Young and In Love) and a cover song round out the E.P. The cover – G. Frenzy’s wonderfully poignant Tonight the Kids Sleep in the Car – has been one of Comber’s favourite songs ever since he first heard it. Recorded live in a garage at the end of a draining musical session and more than a few beers, not including it on the E.P was simply not an option. (Frenzy has told Comber to spend his share of the royalties on donations of beer for the homeless).

Comber has done national tours with The Verlaines and The Chills, both iconic New Zealand bands, and has honed his shows both with a band and as a solo performer. In June 2011 he is heading to the U.S.A to play any gigs he can find and put his songs on a different part of the world map. Upon returning he looks forward to getting to work on album number three AS SOON AS POSSIBLE. . .

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Press:

"Endearance -- as with most of the best albums -- doesn't give itself up immediately, but once you start paying attention it rewards handsomely." Graham Reid, Elsewhere.co.nz

"The almost forensic precision of the lyrics to 'Me and Billy T', 'Nobility' or 'Jaws of Life' recalls the more sombre suburban narratives of Bill Callahan or Joni Mitchell. " - Grant Smithies, Sunday Star Times

-“I respect his work and feel confident that many in Cohen’s Wellington and Auckland audience would too if they came in contact with it.” – Graeme Downes, The Verlaines

"We were fortunate to have excellent songwriter Simon Comber playing solo support at all of the gigs on this tour. If you get the opportunity, I recommend you see him perform - great acoustic guitar, great vocals and a fine set of songs that venture from the tender and even humorous to almost psychotic acoustic thrash!" Martin Phillipps, The Chills

-It’s reassuring that while there are many heartfelt words to be found on ... Comber’s second album, there’s absolutely nothing that could be interpreted as a generic love lyric. In fact, what distinguishes Comber from the zombie singer-songwriter legions are his slice-of-life narratives that manage to evoke the stark reality of humdrum suburban lives. Comber is shaping up to join that rare and environmentally endangered, esoteric, unpredictable and literate Kiwi breed known as ‘Billis Direenis’. " - Gary Steel, Real Groove

- “... Judee Sill’s weapons – a unique voice, intelligent writing, and some wonderful lyrics – are his... musically, he’s like a young Don McGlashan – McGlashan’s magnificent “While You Sleep” is the top shelf Comber is reaching for in many of his songs.” – Roi Colbert, Sunday Star Times

-“I spent an entire year living and dying to Simon Comber’s first album.” – Andrew Schmidt, Mysterex Blog

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