Thalia Zedek had just witnessed the end of noise band Live Skull, Chris Brokaw drummed on Codeine’s debut. So two times New York, but the founding of Come took place in 1990 a few hundred kilometers away in Boston. Brokaw now plays his favorite instrument, the guitar, as does Zedek, who takes on the vocals.
Worlds collide: he is one of the pioneers of indie rock slowness, she threw herself into nihilistic no wave, including drug addiction. The return to the old hometown of Boston was both an escape and a new start at the same time. But Zedek couldn’t shed her blues-inspired, hard and intense guitar style, complex songwriting with a clear aversion to friendly melodies.
30 years later, the mixture of furious guitar duels and dark ballads is still easy to listen to
There was praise from all sides, but Come could never step out of the shadow of Sugar, Sonic Youth, Nirvana or Dinosaur Jr., remained an insider tip. Nevertheless, John Peel quickly had them on the radar, and just two years after their founding and with the first work ELEVEN: ELEVEN in their luggage, they went to the BBC studios in London in 1992. A second session followed a year later.
While Come interpret the four selected tracks from the debut even harsher and darker on the first visit, building up a mighty wall of sounds, the US quartet presents itself in the second session much tidier, apart from the aggressive grunge number “Sharon vs. Karen”, the song “Wrong Side” could almost be described as graceful. 30 years later, the mixture of furious guitar duels and dark ballads is still easy to listen to.
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