‘Castle Park’ Review: Graham Coxon’s Lost Album Emerges as a ’60s Pop Gem

Can we get a “WOO-HOO”? “Lost” albums surfacing while an artist is still around to release them don’t come along very often. Luckily, Graham Coxon is very much alive and well, and has now delivered his ninth solo album ‘Castle Park’. Originally recorded back in 2011 during the same period as ‘A+E’, the project was set aside when Coxon became tied up with another Blur reunion tour and record. After that, it drifted further into the background as he moved into soundtrack work for The End Of The Fucking World, developed his graphic novel and accompanying ‘Superstate’ project, formed The WAEVE with Rose Elinor Dougall, and then rejoined his old Britpop bandmates for major Wembley and festival shows, followed by the acclaimed ‘Ballad Of Darren’.

Now, during a relatively quieter stretch, Coxon is finally releasing what would have been his ninth solo album proper more than ten years ago. While ‘A+E’ leaned into a raw, abrasive punk energy in contrast to the gentle folk tones of ‘The Spinning Top’, the material that became ‘Castle Park’ was kept aside to explore a looser, more upbeat sound shaped by his love of 1960s pop and mod culture.

Named after a location in his teenage hometown of Colchester, the record is wrapped in warmth and nostalgia. Longtime fans may already recognise opener ‘Billy Says’ from his live sets, now reshaped into a bright, Kinks-inspired pop track that sets up a Billy Liar-style story about a partner who stretches the truth. That light, easygoing tone runs through the whistle-ready ‘Alright’, the punchy garage rock of ‘When You Find Out’, and the rolling bass and surf guitars of ‘There’s A Little House’. By returning to the 60s influences that first shaped him, Coxon’s direct pop instincts come through clearly in these short, sharp songs about love and everyday chaos.

Although it sits closer in spirit to ‘Happiness In Magazines’ and 2006’s ‘Love Travels at Illegal Speeds’ in its straightforward pop focus, Coxon still experiments across ‘Castle Park’. Acting as a bridge toward his later soundtrack work, ‘Isn’t It Funny’ unfolds into cinematic, Scott Walker-style orchestration. ‘Mélodie Pour Christine’ delivers a delicate violin-led interlude, while ‘Easy’ channels a Beatles-like softness centred on reassurance and affection. Meanwhile, ‘Dripping Soul’ adds a touch of Morricone-inspired Western atmosphere. Even so, he keeps everything grounded in melody and emotional clarity.

“A life so forgettable, but it really doesn’t matter,” he sings on the hazy closer ‘All The Rage’, though that line feels far from true in his case. This moment of reflection and release has also prompted Coxon to revisit his solo catalogue, with plans for reissues and a return to live performance with his first full band shows in ten years. It’s a reminder of just how strong his work can be outside the shadow of Britpop-era stadium fame, something clearly on display here with ‘Castle Park’.

It would have been a real shame for this album to remain hidden away indefinitely. Instead, it now stands proudly alongside the best of his solo output.