Tex La Homa ‎– Some Lost Bliss

And Records ‎– &028, Youth Inc. ‎– YOUTH-008
CD, Album



  • Artwork By – Masayuki Miyoshi [at Shift 180]
  • Written By, Performer, ProducerMatt Shaw*


Recorded at home in Poole, Dorset, England.
13,14=bonus tracks for Japan.
Insert included with lyrics in English and Japanese and information about artist in Japanese only.
Under exclusive license from Tex La Homa.

Barcode and Other Identifiers

  • Mastering SID Code: IFPI L262
  • Mould SID Code: IFPI KH11
  • Rights Society: JASRAC
  • Other (JASRAC Number): R-06A0119SM

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May 4, 2018
edited 6 months ago
So today I’m feeling a bit perplexed while holding a CD that came rather highly recommended by friend who’s musical tastes I take seriously, yet even still, I can’t find my way in this album.

Some Lost Bliss is the middle child for Tex La Homa, so one would make the assumption that this would be ‘the’ album to have, that earlier quirks would have been worked out, leaving me to find shoe gazing perfection here. So perhaps I should tuck this record aside and come back to it from a different angle in a couple of weeks. That being said, Tex La Homa is a project by the multi instrumentalist Matthew Shaw who’s intent seems to have been to create soft melodies with guitars and electronics intermingled with hushed vocals that exist in a space of implied mild distortion, where he creates what come off as post-rock pop and folk inspired contemporary ballads … and yes me, I hear that.

Now, I’m in no way suggesting that the music isn’t good, I’m simply saying that it wasn’t until the song “Be There” danced through my head that I thought I’d found the key, yet once into the next track I was just as lost again, and I’m not shy about digging in an figuring things out. This concept causes me to consider that often times one must be in the right place, the right head space, at the right time to have things click, and believe me, things have clicked with me that the rest of the world has turned their backs on. Tex La Homa makes me consider low-fi conceptualism, as it’s not anything at all like say Kurt Vile, it’s more of a production that was done while Matt Shaw was locked away in his bedroom living on peanut butter sandwiches and chocolate milk as winter turned his only window on the world to frost, where he was attempting to stay warm wrapped in blankets. Some Lost Bliss might make more sense if I were to view it though the eyes of Shaw as some sort of movie soundtrack being played out in his head. And perhaps that’s what I’m missing, the personal visions that Shaw was seeing and the history behind the emotions he was feeling. All of that would make perfect sense, especially if one remembers the work Neil Young laid down for the movie “Dead Man,” where without the contextual visual backdrop, the notes and chords strung together would make no sense, yet when laced together with the movie, all blended together belaying the notion of a whole was greater than the sum of its parts.

This would suggest to me that Some Lost Bliss is not a listening experience, that it should be part of the fabric of a doing experience, where the songs become the soundtrack for whatever it is you’re involved with.

Hey … but what do I know.

*** The Fun Facts: Most folks would take Tex La Homa to be some sort of Spanish hybrid, when in fact, "Texlahoma” is a combination of the states names of Texas and Oklahoma. The term is often written as “Tex-La-Homa,” and in that case suggests the states of Texas, Louisiana and Oklahoma. “Texlahoma” ("Tex-La-Homa") was also the name of an oil company that incorporated in 1919. In the 1930's, people living in the panhandle regions of Texas and Oklahoma spoke of a forty-ninth state to be called ‘Texlahoma.” Then there's Douglas Coupland’s novel, Generation X: Tales for an Accelerated Culture (1991) that involved characters who spoke of a place called “Texlahoma,” an asteroid that was also a mythic world, a sad everyplace that was forever suspended in the year 1974 … and truth be told, Matt Shaw lifted the name from Douglas Coupland.

Review by Jenell Kesler