Album: Supergrass <!-- none onestar twostar threestar fourstar fivestar -->

Road to Rouen, PARLOPHONE

Andy Gill
Thursday 11 August 2005 19:00 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

The punning title of Supergrass's fifth album is not without a certain ironic resonance, reflecting as it does the rather shaky position in which the band find themselves as they continue to search for fruitful routes out of Britpop. As with 2002's Life on Other Planets, it was recorded in France, during a period of fretful instability that saw drummer Danny Goffey leave and rejoin the band. Tracks such as "Tales Of Endurance (Parts 4, 5 & 6)" and "Kick in the Teeth", a song about perseverance in the face of betrayal, might be assumed to refer to the band's own situation, though such is the overall tone of whimsical resignation that that's far from certain. Less energetic than previous albums, Road to Rouen draws predominantly on the band's psych-pop influences, with distinct echoes of Magical Mystery Tour-era Beatles in "Sad Girl". Several tracks on what is an unusually short album seem like filler: "Road To Rouen" itself is bland, aimless funk-rock, while the guitar instrumental "Coffee In The Pot" is the kind of cabaret kitsch one might expect of John Shuttleworth. The best things about the album are almost incidental elements of tone - the wistful pop slouch of "Low C", and the way that the fluttery strings and vocal harmonies hang around the single "St Petersburg" like perfume. Which hardly seems enough.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in