Film Junk » Album Review

The Advantage – Elf-Titled

Sean — Sun, 05 Feb 2006 23:22:34 +0000

The Advantage - Elf-Titled (5RC) Elf-Titled is the sophomore album from The Advantage, a particularly talented group of nerds who have devoted themselves to the task of covering a song from every single Nintendo game ever made (certainly a worthy life quest if ever there was one.) I loved their self-titled debut despite the poor production quality; partially because of the nostalgia factor, but mostly because of the technical precision with which they play their instruments. The Advantage are not the first band to cover video game tunes, but to my knowledge they are quite simply the best. It is remarkable how faithfully they are able to translate the 8-bit bleeps of NES game soundtracks into high energy rock songs using nothing more than guitars, bass and drums. One thing they have going for them is the fact that Spencer Seim, guitarist for experimental duo Hella, plays drums in the band. I wouldn't want to discredit the other members, especially since a lot of the guitar parts are extremely fast and complex, but Seim anchors the band by pounding out dynamic and interesting rhythms that are completely unique... especially considering most NES music never had any percussion to begin with. I think this is one of the big reasons that The Advantage have gone on to be more than just a joke band sharing MP3s with their buddies. Of course, there's also something to be said for the universality of Nintendo games, a shared experience among just about anyone who grew up in the 80's (well... except for those few outcasts who had the Sega Master System instead). The selection of songs this time around does not feature quite as many popular favourites -- no Mario or Zelda here -- although many people will no doubt recognize the themes from Castlevania I and II, as well as the rollicking "Megaman II - Stage Select + Metal Man". This time around The Advantage let their geek flags fly and dig into some more obscure games too, such as "Guardian Legend" and "Solar Jetman". By unearthing some of these lesser known titles, they prove that the appeal of this band (and these songs) goes beyond pure nostalgia. Some of the songs I had never heard before are easily the best tunes on here, particularly the high-speed and persistent rhythm of "Guardian Legend - Corridor". I must admit to also having a soft spot for some of the other songs that I personally recognize, including the carefree "Ducktales - Moon" and slightly eerie "Metroid - Kraid's Lair", enhanced by an extra layer of spacey guitar noise. Don't let the lame cover artwork and album title throw you off either. Elf-Titled is not as lo-fi as their first record, which sounded at times like it was recorded on a ghetto blaster in someone's basement. The improved production quality is certainly a welcome change and only serves to increase the band's overall level of ass-kicking. It's nice to be able to hear that they aren't using a cardboard box for a kick drum after all, and the crisp sound makes their musical abilities all the more evident. It's hard to argue that The Advantage ever really transcend the basic novelty of remaking video game music, but I do think that what they do is impressive. In some cases they simply showcase the genius of the original composers, but often times they manage to take a piece that was repetitive and borderline annoying, and re-invent it in their own style. Maybe the song selection is still not as strong as the first album, but with the better production quality I don't have any trouble recommending this album to anyone who is an old school video game fan. Of course, if you also happen to be a bit of a music nerd, I think you will have twice as much fun with it. -- Sean

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We Are Scientists – With Love and Squalor

Sean — Fri, 20 Jan 2006 07:51:10 +0000

We Are Scientists - With Love and Squalor (Virgin) Every now and then even the most jaded indie rock afficionados have to let down their wall of sophistication to enjoy a good solid pop album, guilt-free. I've always felt that accessibility should not ruin the experience of an intuitively catchy album -- of course, it's a lot easier if you can jump on board before MTV has a chance to play it to death. The story of We Are Scientists' debut album "With Love and Squalor" is an interesting one, starting on the campus of the University of Southern California, leading to a performance at SXSW, and culminating with the band's signing to Virgin Music. The thing is, these guys have been on the radar of MP3 bloggers for a full year before their album was released in North America, and now that the album is in stores, the backlash has already started. It seems like blogging has sped up music distribution to the point where a band is now considered passÃƒÂ© by the time you can actually buy their music. At any rate, while I can't say this band offers up anything groundbreaking or revolutionary, I think there is still something to be said for the sheer infectiousness of their music. It has been my experience that the albums that take the most time to grow on you often end up becoming timeless classics. With Love And Squalor is probably not one of those albums; it hits you with instant gratification and does not conceal much more below the surface. But sometimes I'm okay with that. All I know is that when I first heard some of the songs on this album, they were absorbed into my brain and have been continually playing on repeat somewhere up there ever since. We Are Scientists will fall well within the comfort zone of most commercial radio listeners; Franz Ferdinand and The Killers are some obvious reference points (check out the song "Lousy Reputation" for their best Killers imitation). But there's a bit more energy and fun in these songs, more edge and more freneticism despite the silky smooth choruses. People are also likely to make comparisons to Les Savy Fav ("Cash Cow") and especially Hot Hot Heat ("Worth The Wait"). The band's hidden strength lies in its razor sharp rhythm section, the bass and drums propelling them through song after song, from the bounding progression of "The Great Escape" to the agile single "Nobody Move, Nobody Get Hurt". The only sticking point for me would have to be the vocals of frontman Keith Murray, which occasionally seem to hover somewhere in an uncomfortable Oasis/Incubus range ("Can't Lose" may be the best example of this phenomenon). Still, faux British accents notwithstanding, there is a draw to his voice as well, and I can't hold it against him that he is actually able to sing. The other noteworthy thing about this band is that their wacky sense of humour. While it's not immediately obvious in the music itself (probably a good thing), it is more than a little endearing. From their eccentric fashion sense to the "Ask A Scientist" advice column on their website, it's a relief to find that they don't take themselves too seriously. At the very least this should guarantee them a sizeable cult following in the forseeable future. I am pretty confident, however, that We Are Scientists will become a household name before too long. They certainly seem poised for mainstream success, but that really doesn't take away from the strength of this wonderful debut album. Danceable rock music that makes for perfect summer listening in the dead of winter. -- Sean

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Lightning Bolt – Hypermagic Mountain

Goon — Mon, 19 Dec 2005 15:42:39 +0000

Lightning Bolt - Hypermagic Mountain (Load) Until recently, very few people paid attention to noise music, and as much as it may generate some angry posts in the comments section, i daresay theres a reason why: I think the vast majority has really sucked. Lightning Bolt however? My boys. The reason I like Lightning Bolt is simple: unlike almost every other noise band I've ever heard, they don't annoy me with what I would call, wanker bullshit. They simply tear a hole through your speakers with a brutal intensity that would make Slayer jealous, rather than just playing anything, hoping if they're unlistenable enough some critic might declare them a 'Caviar band' . They don't worry about progression or stagnation from record to record, and they don't need to - all they have to do is deliver a mastodon of a record. We get impressive riffs, superior energy and the amazing distorted fuzzy bass sound that often does more than a legion of guitars could hope to do. When I listen to this stuff I picture cavemen beating the living crap out of each other. I don't care much for the fact that many reviewers are trying to deny how metal this album is for the sake of converting Mogwai fans... but who cares. This album is amazing and anyone who listens to it should figure that out or turn in their headphones for a cane and dentures. This album makes me feel like a badass, and runs circles around every other band who attempts to play this style. -- Goon

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Jello Biafra and The Melvins – Sieg Howdy

Goon — Mon, 19 Dec 2005 15:42:34 +0000

Jello Biafra with the Melvins - Sieg Howdy! (Alternative Tentacles) Last year, aging punk icon Jello Biafra (Dead Kennedys) teamed with the equally legendary Melvins to put together a collaborative effort called "Never Breathe What You Can't See". There was a lot of material from those sessions that were not released until this record. You'd think that maybe these were just the castoffs, but instead I find "Sieg Howdy!" to be the better release, which I think is because the album sounds like the Melvins were more in control of writing this one. While "Sieg Howdy!" isn't the classic album you could hope to get from this teamup, its still a worthy record I recommend a fan of either band to search out. The album opens with a cover of Alice Cooper's "Halo of Flies", which is better than the original, though I don't know if thats saying much since I never really cared for ol' Alice. Jello continues to rant and rave against the current state of the world in an extended version of "Never Breathe"'s "The Lighter Side of Global Terrorism" and a Schwarzennegger bashing update of "Kali-Fornia Uber Alles". Jello also apparently couldn't seem to resist an attack on his former bandmates, with "Those Dumb Punk Kids" taking aim at old punks reuniting to make a quick buck. The highlight though, and an indication of why we should encourage Biafra to keep hanging with Buzzo is "Lessons in What Not to Become", easily one of the best punk songs to be written in the last decade. It might be safe to actually call this an EP, as depite there being 10 tracks, 3 of those are remixes, the best of which is done by Ministry's Al Jourgensen, who puts his spin on "Enchanted Thoughtfist". -- Goon

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311 – Don’t Tread On Me

Goon — Sat, 17 Dec 2005 17:30:32 +0000

311 - Don't Tread on Me (Zomba/Volcano) 311 have been around for some time now, and I was into them at the peak of their popularity, the self-titled release some refer to as the Other Blue Album. With the hits "Down" and "All Mixed Up", 311 made a name for themself with both the emerging nu metal crowd, as well as with many of the same people who took ska and swing and made it into a fad for about a year. I too, got burned out with 311 by the time "Soundsystem" came out in 1999. 311 to me were treading water, and as they got more repetitive, I felt it even began to hurt their old work. Eventually I came to see their old work as nothing special too begin with, one of those bands teens like because they don't really know any better. 5 years later, I see 311 still have a pretty stong following, enough anyways to warrant a greatest hits compilation and seveal more albums, with this release "Don't Tread on Me" being he most recent. Once again I have to say 311 are playing the same-old, same-old. Since I've had a break from the band (and since they took a step up in coolness in my eyes after beating up Scott Stapp), the Omaha culture-hopping stoners aren't so objectionable to me these days, but at the same time, this is still nothing special. Tracks blend into one another, they don't seem able to put together riffs like they did on the first few albums. Basically, this is bland stuff for your college fratboy who thinks he gets Bob Marley. - Goon

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Tom Green – Prepare For Impact

Goon — Thu, 08 Dec 2005 03:32:20 +0000

Tom Green - Prepare for Impact (CD/DVD) (Sony Music Canada) Spacejunk is a Tom Green friendly zone, friendlier than most places. I've always taken him not as a comedian, but an entertainer, hell, performance artist, who I happen to find funny more often than not. Tom Green isn't considered as cool as he once was, thanks to some very angry critics (and others so deprived of irony they take anything someone says or does at face value, assuming a person is just crazy or desperate for attention), but I don't care. Tom's my boy. So... bias alert. But a rap album? I think most people know by now Tom Green was a member of a rap group in his youth known as Organized Rhyme, who were nominated for a Juno award thanks to the strength of their single "Check the O.R.". They were a group that honestly enjoyed rapping, but at the same time weren't really meant to be taken seriously. Tom's love of rap made its way into segments on the Tom Green Show and also materialized in a little heard album released under the name MC Face, which had a number of entertaining songs about killing baby seals and bragging about how cool Glenn Humplik is. With MC Face, Tom amped up his obnoxiousness and purposely fell into some rap clichÃƒÂ©s, not as mockery, but just to have fun. With this album, produced by Mike Simpson of the Dust Brothers (who became friends with Green doing the score for "Freddy Got Fingered"), Tom is now somewhere in between the excess of MC Face and the innocent fun of Organized Rhyme. Not that there's isn't tonnes of swearing to be found here, but its never as obnoxious or outrageous to me as MC Face. The songs though, with beats taken care of by Simpson, pull the project musically above both of those (though I'd still have to put some of MC Face's songs above any of the ones here if I had to pick faves). They're catchy, cute and stupid songs about teachers sucking, dissing celebrities, Hooters, and just being an idiot. Juvenile as it is to keep the 'bum is on your lips' stuff up in 2005, they're obviously done with enough care that this shouldnÃ¢â‚¬â„¢t be considered a novelty record or a comedy record, but one that just flirts with it an awful lot... I guess Tenacious D or Liam Lynch would be the best comparison. So itÃ¢â‚¬â„¢s a fun record that I'm enjoying. I don't know how much repeat value it will have for me, especially considering I'm actually kind of picky with the rap music I do like. Which is what makes including a DVD such as wise move on Green's part. While for example, the Roots or the Dillinger Escape Plan, will waste plastic with a DVD with almost no content, Green has provided a 45 minute tour documentary and music videos, including Organized Rhyme's "Check the O.R.". The doc is... OK. It's a tour documentary so you shouldn't expect a bunch of Tom Green Show style moments, though there are a few to be had. In between short clips of his performances on stage we see a lot of skateboarding, hanging out and interaction with people on the street as Green promotes to the media and goads passersby into coming to the show. An accompanying commentary track is actually Green looking directly into the camera at you as a TV screen behind him plays an earlier cut of the documentary. It starts out with a lot of 'ums' and 'ahs' but Green settles in quick enough, giving the full story of his intentions with the rap album, how it came to be, and even candidly talking about his weight gain over the last few years. I've always liked Green's commentary tracks - he's honest, and since he's always been putting himself into situations where he's had to just keep talking he's well prepared for DVD tracks. What I like most about Green these days is that despite the fact that he seems to have mellowed out some, despite the fact that aging and Leno appearances have made him less edgy, is that he's continued to be obsessively dedicated to his fans. Whether it be posting his phone number on his website or the free shows at Hooters, Tom Green is the very rare celebrity who really does seem to consider his fans as his friends, who does everything just to make them happy. I hope that whether or not this album is a success, Tom won't stop that open connection which keeps him relevant and more enjoyable to his fanbase. - Goon

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The Darkness – One Way Ticket To Hell… And Back

Goon — Tue, 29 Nov 2005 04:53:25 +0000

The Darkness - One Way Ticket To Hell... And Back (Atlantic/WEA) There's a lot of people who desperately want this album to fail. There's the perception out there that the Darkness exist solely to poke fun at decades old rock and that they aren't serious about their music. These same people don't have the respect for them to even correctly identify exactly what era they're supposedly mocking. The term 'cock rock' has been thrown around left and right, and while it may be true that the Darkness' videos and live shows visually celebrate the excess of the 80s, musically they are clearly devoted to classic rock of the 70's - Boston, Thin Lizzy, early AC/DC and especially Queen. The devotion to Queen has been drastically upped with this sophomore disc, in the vast majority of cases for the better, but in a few moments not so much. On the positive side, the production by - you may not be surprised - Queen producer Roy Thomas Baker, has masterfully multitracked Justin Hawkins voice throughout this album to easily pull of the "Freddie Mercury effect", making Hawkins appear to have much more control over his voice than he actually does. The rock riffs and solos continue to impress - if it were a decade earlier surely we'd be hearing Beavis and Butthead humph-ing along to them. The lyrics, while in some cases are ridiculous and in other cases overly simplistic love songs, also successfully celebrate that era of music. In 2005, having goofy lyrics is somehow considered mockery though... these people apparently forget "Fat Bottomed Girls", "You Shook Me All Night Long", and other songs of the era the Darkness worship. "One Way Ticket" in many places truly captures the sexual ambiguity of classic rock, especially through the bombastic highlands inspired "Hazel Eyes", the piano driven "English Country Garden", a few ballads, and "Knockers", which despite its title, sounds 'gay' enough to be a Scissor Sisters track. Whether itÃ¢â‚¬â„¢s the pan flutes that open the record or the jingling bells in "Seemed Like a Good Idea at the Time", it disgusts me that anyone could think that the Darkness aren't fully in control of what they're doing - how anyone could question their care for their craft. There is a difference between 'trying to be funny' and 'trying to have fun', and the Darkness clearly fit in the latter category. The title track, while a grower, was probably a bad choice for the first single. Even in the UK where the Darkness are already of Legend, it has not done as well as expected. Still, given the context of the album it's appropriate. The songs are definitely catchy, but they are not nearly as ready for radio as "Permission to Land". It didn't take me any longer to really throw myself into "One Way Ticket" than it did for "Permission", but I find this album's Queen worship causes it to be hard to sing along to. Granted, their lyrics have never been the clearest, but they're even more unintelligible now. Despite giving this my highest rating, I'm not sure this tops "Permission to Land". But one thing is for certain, this wins no matter how much certain (I'm talking to you Tim Perlich of NOW Magazine, you elitist douche) don't get it want it to. The Darkness will certainly be kicking around for several albums more. - Goon

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System of a Down – Hypnotize

Goon — Thu, 24 Nov 2005 21:28:35 +0000

System of a Down - Hypnotize (American/Columbia) Earlier this year System of a Down released the first part of what is essentially a double album, "Mezmerize" (read the Spacejunk review) , an album which received a great deal of commercial and critical success, despite being a band that many still consider 'nu metal'. Drawing on a number of influences, not all Western, they have managed to stand out among a number of hard rock/metal bands - some might even say they're the biggest hard rock band in the world right now. They are still not without their detractors. While even pitchforkmedia.com has given them a thumbs up, others still find them vexing and even annoying. A common critique is the bands lyrics, which I would not even say are good. I would call them though, appropriate, and it's something positive to see a band like this get mainstream success given the current political climate. SOAD carry a circus-like atmosphere at times. Some songs are politically motivated, others, like "Vicinity of Obscenity" repetitively and absurdly shout about bananas and terracotta pie whilst alternating between thrash metal and funk. Of course by releasing two albums in one year, "Hypnotize" has the unenviable task of being compared to its predecessor more than other bands would be. There has not yet been an across the board winner from the critics or the fans, and it took a while to mull it over myself. I think I've come to decide they are pretty much equal in quality. Some have tried to differentiate the two by saying one is more epic than the other or that there's some different theme, but I think those people are just looking for an angle. "Mezmerize" was a more ambitious effort than anyone expected, and it was the first to feature guitarist/primary songwriter Daron Malakian in a more prominent vocal role. "Hypnotize" has the band musically at times veering more towards 2001's "Toxicity" in songs such as "Attack" and "U-Fig", but otherwise it's more of the same style of eccentric aggression and catchy hooks, which might leave those expecting another jump forward to be disappointed. "Soldier Side", a full version of a song used as the intro to "Mezmerize", closes the album to bring the whole thing full circle. It's probably the most politically charged song from both albums, and lyrically probably the least clumsy. Both of these albums could have fit on one disc, and had they maybe cut a few tracks, SOAD would have produced an album that would be even more well received among those still unsure about the band. The devoted fans on the other hand, would probably revolt at the idea of giving up any of these songs. - Goon

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The Mars Volta – Scabdates

Sean — Tue, 22 Nov 2005 06:52:18 +0000

The Mars Volta - Scabdates (Universal/GSL) It may seem a little early in the game for The Mars Volta to be releasing a live album, with only 2 full-length albums to their name thus far, but my initial thought in hearing about this record was a positive one. Live recordings from a band as experimental and progressive as TMV could be an intriguing and entirely different experience from their studio albums... at the very least, something worth exploring. And since I hadn't had the chance to see them live in concert before, this would be the next best thing. On the other hand, I had also heard mixed reviews of their live shows, with directionless improvisation and a sometimes erratic sound, so I couldn't help but feel that this live disc could risk alienating a lot of people too (myself included). As much as it pains me to say it, "Scabdates", is for the most part not as interesting as it probably should have been. Culled from concert footage recorded between May 2004 and May 2005, the track listing is comprised solely of material prior to their newest album, "Frances The Mute". This could have been a good thing, considering the fact that I was a huge fan of their first EP and "De-loused In The Comatorium", but less enthusiastic about Frances. However, the actual selection of songs on this album is really limited, with "Take The Veil Cerpin Taxt", "Cicatrix ESP" and "Concertina" being the only previously released songs represented here. The track listing might lead you to believe that you will be treated to a large assortment of brand new, unreleased Mars Volta songs instead, but in actuality the rest of the album is filled in with extended jams and improvised noise passed off as full tracks. I don't necessarily have a problem with live improv, particularly if a band is good at it. With The Mars Volta, I definitely expected it and was even looking forward to it, but the thing is... they don't deliver the goods. For example, the album opens with "Abrasions Mount The Timpani", a 4 minute sound collage dominated by sounds of a baby crying and screeching. I'm sure this is a bold artistic statement of some sort in their minds, but with the crowd murmurs mixed in, it's almost unclear whether or not there's just a crying baby in the audience somewhere. Instead of being unsettling, it's just annoying. The improvised bits do occasionally hit the mark, like on the two-part follow up to "Take The Veil", which keeps the energy level high and brings the song full circle again at the end. On other hand, songs like "Caviglia" (the lead-in to "Concertina") and the aimless "Haruspex" do not really deserve to have a title or dedicated track of their own on the disc. The 40-minute long extended version of Cicatriz that ends the CD starts off sounding tight and urgent, but by the end, it severely drags. Quite simply, it does not deserve to be so long. I might have bought it, right up until the final 20 minute "Part IV". Although the sound quality is pretty good overall, I think Scabdates proves that a band like The Mars Volta is more enjoyable in a controlled studio setting. They can be as creative as they want, but producer will still rein them in and mix it down nicely at the end of the day. Live, Cedric's voice too comes across as more of a strangled wail than anything else, and Omar's furious guitar shredding is sometimes reduced to a jumbled mess. I also have a feeling that with a band like this, the visuals play an important role in your appreciation of their live presence. A live DVD may have been more effective given the circumstances. I'm going to have to say that this one is only for hardcore followers of the Volta. It's certainly not going to win them over any new fans, and if anything it's only going to contribute to the general consensus of people feeling increasingly frustrated by the band's self-indulgence. I appreciate what this band does, but I don't think this album is a very good document of everything they're capable of. -- Sean

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Depeche Mode – Playing The Angel

Goon — Mon, 31 Oct 2005 05:00:00 +0000

Depeche Mode - Playing The Angel (Mute) Dave the Lighting Guy says in the movie "Orgazmo", "I don't want to sound like a fag or nuttin, but I think Depeche Mode is a sweet band". Gay joke aside, I've always felt pretty much that way. I never really became a big fan until their greatest hits CDs came out, but I've always had an appreciation of the Mode to some degree even in my youth. That said, I've only heard their more recent, less appreciated albums "Ultra" and "Exciter" (the former I like, the latter not much at all). So I can't go and tell you that this is a "return to form", or how it compares to "Violator", but I can say that this is a quite catchy, enjoyable album from start to finish, with several potential singles that would stand up nicely next to their older material. Never does it really sound like a desperate 80's band, probably helped by the fact that several successful bands, like The Killers, are kinda weezing in on that sound lately, and not even as well. The lyrics on this album are pretty cheesy and morose, as Depeche Mode have always had, however since this is essentially a pop album everything lives or dies on the strength of its songs, and "Playing the Angel" delivers. Single "Precious" is now one of my favorite Depeche Mode songs ever, and "A Pain That I'm Used To" and "John the Revelator" are also great. A few songs, such as "Macro", push the cheesiness a little too far, but it doesn't hurt the flow of the album much. So to any of you semi-gothy people out there who felt let down by the latest NIN album and need your fix of quality music with the words "sinner" and "pain" used liberally, "Playing the Angel" comes highly recommended. -- Goon

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North American Halloween Prevention Init. – Do They Know It’s Halloween?

Goon — Mon, 31 Oct 2005 05:00:00 +0000

North American Hallowe'en Prevention Initiative - Do They Know It's Hallowe'en? (Vice) I'm one of those people well suited to Hallowe'en. It's a happy time for me, but with certain exceptions (some Ramones, Misfits, the Nightmare Before Christmas soundtrack), I can't stand the music. Monster Mash? Ugh. They're Coming To Take Me Away? Probably my least favorite song ever. So I was pleased to see this single, featuring, well... everyone. Contributors include a score of indie faves, including the Arcade Fire, Beck, Karen O, Smoosh, Feist, Devandra Banhart, Nardwuar, Les Savy Fav, and way way more. It even has a few members you wouldn't expect, such as Stevo of Sum 41, Elvira and comedian/hipster David Cross. "Do They Know It's Hallowe'en" is a 6 minute, epic song, that without all the guest appearances sounds like it could have come from a number of these bands, but overall I think it comes down closer to the Arcade Fire in feel, with theirs and Beck's vocals standing out the most. Just about everyone gets a singing part at some point, even Cross, and thankfully, the packaging includes a lyric sheet that breaks it all down so you know who's doing what. There is a shorter version of the song, as well as two remixes by Disco D and Th'Corn Gangg that are passable to a Basement Jaxx/M.I.A. fan, but really aren't all that special. Still, at a decent price and knowing its all going to charity (UNICEF), this comes recommended. My only gripes are (a) the AMAZING music video wasn't included as an enhanced feature, and (b) the douchebags at Vice HQ have been making the rounds trying to pass this off as a subversive slap in the face of Bob Geldof, when really it's just a cute song. -- Goon

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Supergrass – Road To Rouen

Sean — Wed, 19 Oct 2005 05:00:00 +0000

Supergrass - Road To Rouen (Capitol) Back when Supergrass first careened onto the British music scene in 1995, their debut album "I Should Coco" was a blast of youthful energy paying tribute to The Who, The Buzzcocks, and plenty of great British bands who knew how to party in style. A lot of people thought they were a mere flash in the pan; a band that borrowed too heavily from their heroes to truly stand on their own. Which is why it's hard to believe that this trio of cheeky lads from Oxford are still together over 10 years later proving their critics wrong. Their last release was a 10 year anniversary singles collection. They're no longer a trio (they've since added lead singer Gaz Coombes' brother Robert on keyboards) and they're not quite so young anymore. The music has matured along with the musicians, and with that in mind, I was a little worried that "Road To Rouen" would find them grasping at straws and churning out anything just to keep their careers alive. I shouldn't have been concerned, as "Road To Rouen" is a solid album that confirms the fact that Supergrass have finally found their own voice. It's hard to mistake the album's epic feel, from the strings on songs like the 6-minute "Roxy", to the almost gospel-style backing choir on "Low C". And yet, all the vocal harmonies and raw guitar hooks that make Supergrass exciting and addictive are still there. Songs like "Tales Of Endurance (Parts 4, 5 & 6)", "Sad Girl" and the title track, are moody and reflective but still manage to rock. The album reminds me most of Supergrass' second album, "In It For The Money". I can't say I don't miss the giddy adolescent fun of "I Should Coco", but the band themselves sound like they're still having a lot of fun here. They are much more accomplished musicians, but not above writing slightly silly songs like the Russian cowboy twang of the instrumental "Coffee In The Pot". One of my complaints about the album is that with only 9 tracks and 35 minutes of music, it does feel a little short. I suppose "Tales of Endurance (Parts 4, 5 & 6)" might be considered 3 separate songs (although they still only add up to 5 and a half minutes), but for all the grand scale that some of the instrumentation tries to conjure, it never quite reaches its peak. Still, as a fan of Supergrass who had lost touch with the band after their last couple albums, I was pleasantly surprised. "Road To Rouen" reminded me how good this band can be when they are on their game, and that they shouldn't be counted out yet. They may have another 10 years left in them to say the least. -- Sean

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