Y’know sometimes you realise there’s an artist that has suddenly ear-wormed their way in. I’m sucker for simplicity, raw and heartfelt. I’m a sucker too for sweet and quirky. So why might I even be surprised that Supersonic Boy is suddenly pressing a whole load of my aural buttons?
Supersonic Boy is Tom Claudet, a French lad channeling acoustic Oasis meets Dylan and who waves wildly at Velvet Underground and The Jesus and Mary Chain on his way through.
Supersonic Boy’s latest EP is the aptly titled Teenage Sounds released after he had already teased out a few of his lockdown recorded songs to show us what he is about.
I’ll pick on one main track We All Die At Eighteen because it is charm itself. The song is a useful reminder to tell us to beware of getting too adult and boring. Hahaha I’ve spent much of my adult life making sure I enjoy as much of it as I can. At risk of offending, too much dusting and ironing is for people with too few friends and interests.
With Supersonic Boy and We All Die At Eighteen, the stars align perfectly. The recording is simple, the guitar acoustic, I love Tom’s very Gallic vocal delivery. There’s a strong message in the song, and I love the format where it is a story about somebody. Tom’s French accent only increases the tune’s intensity. When the 5-bed “executive home” looks alluring, give your head a shake and play Supersonic Boy’s We All Die At Eighteen as loud as you can.
The other tracks are all interesting too. The Plastic Soldiers Hymn has a real hint of the Jesus and Mary Chain to it and is a worthy and cherished off-spring. 1979 is a hymn to the ideal that punk is not dead, and the year in question is one to be cherished. Mr. Johnny Smarks continues in the “story” vein and has another charm to it.
To discover Supersonic Boy for yourself, go and say hi to Spotify at: