Supergrass "Road to Rouen" (Capitol)
By Tim Den
Tuesday. Oct 25, 12:54 AM
Not the same cheeky frame and canvas.

(read an interview with guitarist/vocalist Gaz Coombes here)

Any inventive, creatively wealthy artist gets tired of the same frame and canvas after a while. Supergrass are no exception. Along with fellow Brits Doves and Idlewild, the band have chosen to eschew the familiar path for new territory on their latest, Road to Rouen, which also happens to be the first album past the band’s 10 year birthday. Granted, Supergrass’ sophomore record In it For the Money was viewed as a departure because it was more “serious” than the rawkin’ debut I Should Coco, but never have the band completely reinvented themselves more than on this here new platter. Looking for buzzsaw pop along the lines of “Richard III?” Not gonna find ‘em. Even the slightly up tempo ones (“Sad Girl,” the title track) unfold in abstract symmetry, rockin’ the boat with strange accentuations and a zen-like control over stillwater transitions. In fact, the overwhelming feeling one gets from listening to Road to Rouen is of peace: a calming, sedated, warm sensation that almost lulls you to sleep in the best of ways, as the songs quietly blend into one another in a sea of tranquility. Perhaps it’s because almost none of the song names are even mentioned in the songs themselves, but afterward you can’t pinpoint specific “singles”… yet are able to remember the overall experience as one of soothing peace.

Certain aspects stand out, of course: opener “Tales of Endurance (Parts 4,5 & 6)” utilizes a riff not dissimilar to that one horrible Franz Ferdinand hit to much better effect, first acoustically and then smattered with elastic distortion. Somewhere in between, guitarist/vocalist Gaz Coombes mentions “commercial suicide” just after a wave of trumpets remind you of “Pretty Little Ditty” by Red Hot Chili Peppers. “Roxy” takes a turn halfway through into Revolver / Sgt. Pepper’s… territory, as the band hypnotically jam behind chaotic strings and white-washed noise. As violins / cellos quiver chromatically up and down the scale, the song builds into a crescendo that’s more kaleidoscopic than messy; mosaic than abrasive. And at this point, just as you’re a bit worn down by the new, “less fun” Supergrass, they clean the palette with “Coffee in the Pot,” an irreverent one minute-plus intermission of sorts that cracks you up with its randomness (cartoonishly Western).

But again, after the entire album’s done, it’s hard to remember exactly which songs sounded like what. You simply walk away understanding that Supergrass have never made an album so sublime, subdued, or cleverly under-dramatic. Is this a good thing? For listeners willing to trust the band’s muse (such as myself), yes. Road to Rouen might not be what you’re used to, but it has its own rewards that are almost better than getting yet another happy-go-cheeky collection of guitar-driven singles.
www.supergrass.com
www.capitolrecords.com

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Tim Den

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