‘It’s like starting over again,” enthuses Thomas Cohen, referring to his upcoming debut solo record Bloom Forever and performing on stage the night this interview took place, his first live set in two years.

You may, and should, recognise Cohen’s name from his time as frontman of London outfit S.C.U.M. Having released just the one album, Again Into Eyes (2011), the band split soon after. Four years have since passed, and Cohen’s life has been a whirlwind of emotions and events. Having begun writing Bloom Forever back in 2012 the album’s context stretches throughout these years, capturing poignant moments chronologically.

Now, four years after first setting pen to paper on Bloom Forever, the record is fully realised. And it’s worth the wait. Flirting with melodies Cohen creates an immersive world, one warm and inviting, yet deep and meaningful in content. Led by progressive drums, moments of Americana (a la Jim Sullivan or Christopher Owens: all reversed slide guitar work and plucky drums) emerge from more emotive moments to create a blend unique to Cohen.

Great lyricism transcends genre, think Patti Smith, Gram parsons, Elliott Smith, none of these could be said to hold the same genre but they have a unique quality, the way they use lyrics to evoke meaning comes from a higher place. Through Bloom Forever Cohen fits into this lineage snug. The record comes underpinned by a strong narrative, feeding on Cohen’s own – yet not explicitly – life experiences and desire to tell stories. This role of emotive storyteller is one the London-born musician suits with aplomb.

Here is a musician eager to get back on stage, expectant, and above all, excited beyond belief. “This is my first ever gig” Cohen tells the crowd before promptly melting their hearts.

Alex James Taylor: You started writing the album in 2013 and a lot has happened in your life since then. Is the record made up of songs you’ve collected along the way?
Thomas Cohen: In terms of recording, it happened in two bulks, in 2013 and now, but writing-wise it was done along the way.

AJT: So I guess that makes it very diaristic?
TC: I wouldn’t compare it to a diary particularly, but the songs do reflect my mindset at the specific time they were each written. It’s personal, but not as explicit as a diary might be. It doesn’t play exactly like a diary and I didn’t especially want it to really, I wanted it to be inclusive and accessible from a listener’s point of view.

AJT: You went to Iceland to finish the album, what influenced that choice?
TC: I went to Reykjavik, firstly because my producer and the main musician I work with are both from Iceland, and secondly just to allow myself some space to create within.

AJT: I imagine the studio was very secluded?
TC: Yeah, it was on the fishing harbour and right by the ocean and the mountains, although everywhere is pretty secluded in Iceland [laughs]. It had natural light, which was nice, and it was residential too, so I was sleeping there and working. Doing it residentially is key for my work process, it’s the dominant way in which I write and record.

AJT: Do you think Iceland fed into the album at all?
TC: No, not really because the songs are so personal and I knew exactly what I wanted each part to sound like. So I guess I was so determined on that, I didn’t allow my surroundings to really influence my sound too much. Although having said that, the majority of the musicians who play on the record are Icelandic, so some influence may have come from that, but in terms of me being there, not really.

AJT: So in your head you already knew exactly how you wanted each song to sound?
TC: Well, I knew in my head exactly what I wanted but the way I work is that I have the chords and the structure and melody all done, then because of the sort of music I wanted to create I just found people who I trusted and who understood the concept and they would improvise on each instrument. I wanted the music to have that freedom to flow and move.

AJT: And that’s reflected in the album as a whole, it feels full and moves with pace. Due to events that have happened in your life over the past couple of years, would you say that this album worked as an emotional outlet for you?
TC: Yeah I think so, but I think that could be said for all music. Whether it did more or less than anyone else who is a musician, probably not, I think that is the basis of most people’s writing and the reason most people produce music is based on their experiences. It just so happens that mine are more extreme at a younger age than other people’s might be.

AJT: Sure. So tonight you’re playing the first gig you’ve done in about two years. How do you feel?
TC: Really excited. The last show I played was in Norway in September 2013 and that was literally my first show as a solo musician. I feel excited but a lot has changed in two years, socially, so I’m interested to see how long it really takes to perform to an audience who haven’t heard the songs before to disengage and go on their phones [laughs].

AJT: I suppose it’s almost like starting again for you.
TC: Yeah, that’s how it feels.

AJT: But you have still got a solid fan base. When I mentioned to people that I was interviewing you so many told me how much they love you and loved S.C.U.M.
TC: I’ve been quite surprised about how many people look back at my old band positively. Because at the time I think everyone hated us [laughs], but that was fine, we liked that. With this record I didn’t think for one second about how other people would think react to it. I think that comes across too, there’s no pandering to anything.

AJT: The press release mentions that you recorded some of the album in a makeshift East London studio which had next to no equipment so you had to make do with what was around you…
TC: Yes, it’s a studio that is just a writing place for electronic musicians but I ended up working in there. It didn’t have a drum kit or anything but it was a good thing because it meant that there was a real struggle, my vision was quite grand and having to battle that with something the total opposite really worked, in my opinion.

AJT: Exactly, and when you listen to the album you would never think it was made in a little, limited studio. It just goes to show what you can do with very little.
TC: Absolutely. When I started out I realised that I couldn’t create a bedroom record, it wasn’t going to be like Elliott Smith, as much as I love him. So this was my way of doing that, it was liberating for me to make an album totally unsigned and totally unfunded.

AJT: In terms of how the record sounds, the lyrics of each song take prominence and each word is very clear…
TC: Yeah, I really got very into song crafting and lyricists, and it seemed silly not to, considering what I was feeling and experiencing in that time. To take that joy or pain and transform it into something else, that’s the best thing you can do.

AJT: You’re very much into songwriters and storytellers such as Jim Sullivan and Gram Parsons, right?
TC: Yeah absolutely. And because the album was made over a long period of time it wasn’t influenced by one specific genre or group of bands, I like that. I also think that this style of songwriting…I wouldn’t say it’s lost, but it’s definitely different at the moment. I think people definitely care and still convey the same emotions, it’s just done in a completely way.

AJT: What are your plans for the near future?
TC: Well I’d like to make another record as soon as possible. I never really stop writing and I’m quite strict on myself, so for instance, this record has nine songs on it and I think I worked on ten and only cut one, but that will probably be on the next record. So that’s literally my only ambition, to create a good set of records that forms a good body of work.

With this record I knew I wanted it to be heavy on drums, complex bass, simple guitar, lingering and toying with melodies, and I think that I used drums and bass on this record as a comfort zone. So for my next record I’m going to have no drums or bass, and see where this takes me. I’m definitely looking forward to it.