Mathias Kom’s dense, funny lyrics weave politics into narratives
For the past decade, Mathias Kom has been unemployed. At least, that’s what The Burning Hell frontman and songwriter tells interviewers. “Anyone observing any band can see that it’s a shit-ton of work,” said Kom.
I spoke to Kom, bushy-bearded and dressed in flannel, on a Friday night in the front room of Silence in downtown Guelph, where The Burning Hell was about to play in support of their new record Revival Beach. They’ve been touring the record across Europe and Canada for several months, playing something like 70 shows.
“There’s fun to be had,” said Kom. “But touring is work, recording is work, writing songs is work. It’s all labour — but society doesn’t view it that way. So when I say I’m unemployed, it’s because I don’t believe [Canadian] society values art and music the way that we should.”
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It makes sense that Kom would comment on the devaluation of artistic labour by ironically embracing it — he’s developed a knack for addressing tricky subjects indirectly. Revival Beach makes potent statements on pressing issues like police brutality (“Nurse & Patient”), climate change (“The River”), and online discourse (“The Troll”). But those loaded statements are embedded in stories rich in detail, wit, and character.
“I wish I could write a direct political song,” said Kom. “I admire those songs so much, and they feel so real and sincere when I hear Woody Guthrie or Pete Seeger singing them. But when I try and do it I just feel like it’s a sham, or I can’t pull it off. But I just have a different style — everything needs to be sprinkled with a little bit of humour or a story behind it.”
Kom’s wordy tunes shone during The Burning Hell’s Silence set, which dug into their discography as far back as 2011’s Flux Capacitor. Kom took the lead on guitar and vocals, with Ariel Sharratt and Darren Browne rounding out the trio. Sharratt tore it up on the bass clarinet before moving behind the kit for the second half of the set, while Brown filled out the sound with bouzouki and bass guitar.
At the tail end of a long tour, the band demonstrated mastery of their material — particularly in “The Troll,” where Kom and Sharratt switched instruments mid-song. Comfortable in the intimate space, Kom and crew freely interrupted the tunes to offer commentary, tease each other, and interact with the audience.
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Their assured performance seemed far removed from Kom’s description of the year, a decade prior, when he quit his job teaching history to become a musician. “It was pretty hand-to-mouth,” said Kom. But it was worth it. “I had probably the best year that I’d ever had, that year, just playing music and travelling around Canada. So I just kept doing it.”
Some folks say that living well is the best revenge. If that’s the case, maybe The Burning Hell doesn’t need to make an explicit political statement. Their career is statement enough.
Revival Beach is out now via BB*Island.
Photo by Megan Sullivan.