Maturity can often be the worse thing to happen to a band. More often than not, the fanbase are not ready for their favourite group to move away from the style that made them fresh, raw, passionate bright young things. The backlash to Manic Street Preachers' Lifeblood was perhaps more of a lesson to other bands than otherwise observed, although that does have good tunes on
it.
But what of fellow Britpop alumni, Supergrass? They broke onto the scene in 1994 with an energy not seen since their inspiration The Buzzcocks burst into the music industry, then they were In It For The Money, went muso, and got their groove back with Life On Other Planets, a glam cartoony triumph which meant your serious head could be left at home. Problem is, life has a way of sobering even the most nutty of nutcases. The Coombes brothers losing their mother, Gaz becoming a parent, and the media interest in Danny Goffey’s private affairs would no doubt have meant for a tumultuous time in recording, so perhaps some sombre stability would be the order of the day?
Opening track Tales of Endurance (parts 4, 5 and 6) sets us off at a pretty inauspicious start, sounding like a poor cousin to Jon Bon Jovi’s Young Guns II song (that bad), and only really moves away from it’s pedestrian sounding jangly guitars 1:30 in. The first two tracks have you believing they’ve dumped the jaunty, fun, accessible glam indie of LOOP for the sort of tumbleweed americana we’re used to from the Thrills and their ilk. There are signs of the old Supergrass peering up for air, Sad Girl being the most prominent one.
Coombes could clearly show the Gallaghers a thing or two about copying from the Beatles with the ‘I Am The Walrus’ middle eight, and pull it off more enjoyably than Liam or Noel could ever do. And despite Roxy being awash with so many strings, it drowns out the tune in places, there is a certain serenity contrasted with the panoramic orchestral instrumental not unlike the Divine Comedy.
They even delve into Coral skiffle with Coffee in the Pot - one wonders if it’s a mere afterthought or more of a jibe at the West Hoylake outfit? Ultimately, it all does seem a reasonably nice backdrop, but with little or no message worthy of repeating or remembering. Even the foray into Sly and the Family Stone in the title track is fun for a little while, but lacks a point to feel anything is actually learned, other than the ‘grass have made their most average album to date.
Craig Aston.
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