| | Supergrass Road To Rouen Vinyl LP Record Supergrass Discography of CDs
Supergrass's fifth studio album, recorded after a series of unfortunate public and private setbacks including drummer Danny Goffey's tussle with the British tabloids and the death of vocalist Gaz Coombes's mother, finds the band at its assured best. It's both a consolidation of the group's wide range of influences (notably the Beatles, on tracks like the Lennon-esque "Low C") and a journey through unexplored territory, the latter best illustrated by the album's opener, "Tales of Endurance (Parts 4, 5 & 6), where a neo-psychedelic intro rapidly morphs into a riff-heavy coda simultaneously reminiscent of rock warhorses Led Zeppelin and the cutting edge post-punk revivalists Franz Ferdinand.
UK pressing. The brand new sounds of Supergrass's fifth record might frighten the timid, unadventurous types who think Supergrass should still be doing buzzsaw pop, ten years after they (re)invented the form with I Should Coco. With their new album they have made a record that is utterly, intriguingly, brilliantly different. Road To Rouen is about a journey; going places, moving on and growing up, a new chapter for Supergrass. Ghosts of the past have been exorcised and (sort of) laid to rest: Supergrass are ready to face their future. Road to Rouen demonstrates an amazing development of their sound, firmly shaking off the old frivolous and cheeky image. The album is packed with ideas and there are surprises at every turn. In a very good way, it's all over the place. A zither, a ukulele, Led Zep-style psychedelic-folk, brass, strings, the model of drum machine used by Sly & The Family Stone - all these are on Road To Rouen. EMI. 2005.
British vinyl edition.Uncut (p.114) - 4 stars out of 5 - "By far and away the most fun and musically savvy of the Britpop set....All in all, another album of low-key brilliance."
Mojo (Publisher) (p.63) - Ranked #40 in Mojo's "The 50 Best Albums Of 2005" - "Hungarian folk music and scratchy funk jostled deft pop and gently textured psych." Road To Rouen Review
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Rush is no stranger to best-of compilation albums, they've released a slew of them. They are also no stranger to DVDs. To mark their 35th anniversary, they've released Working Men, which is both; it marks their first best-of live compilation exclusively from the DVD sets Rush in Rio (2003), R30 (2005), and Snakes & Arrows Live (2008). There is also an unreleased cut from R30 -- a killer version of One Little Victory. While fans may simply regard this as a record company cash grab, hardcore fans know how closely Rush monitors each release and controls all aspects of their career. On hearing these tracks without benefit of the visuals, it becomes lucidly clear that in the 21st century, Rush plays more like a hungry act looking to prove themselves rather than as seasoned veterans jaded by the entire business. The instrumental interaction between Neal Peart, Alex Lifeson, and Geddy Lee is utterly uncanny, the anticipation and the willingness to add flourishes and to challenge one another in the bridges and solo sections reveal their command of the material and their empathies for one another's playing strengths. One of the more revealing things on a live record such as this one is the sophistication in Lee's vocal delivery now that his singing voice has deepened with age. The only time on the entire disc when it doesn't entirely work is when he tries to recapture his old, piercing caterwaul on 2112, but in that spontaneity there is not only charm, but the surprise that he can still get close ...
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The Canadian industrial noise band outdoes itself on this collection of thunderous beats overlaid with nightmarish snatches of conversation, dramatically gloomy synthesizers, and disorienting blasts of noise. Either one of the band's most successful efforts or a recipe ...
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By the early '80s, the Rolling Stones were one of the last remaining groups leftover from the original "British Invasion" two decades prior. One of the main reasons for this was the Stones' ability to keep pace with the musical climate of the time, without losing any of their original blues-sleaze. Their 1982 live set (fourth overall) STILL LIFE, was taken from performances from their hugely successful U.S. tour a year before, when Mick, Keith and company headlined the biggest outdoor stadiums and vast arenas.
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Despite their connections to the New York rock scene -- the band is based in Brooklyn's Williamsburg district and keyboardist/sound manipulator David Andrew Sitek has produced releases by the Liars and the Yeah Yeah Yeahs -- TV on the Radio's debut EP, Young Liars, is difficult to place, musically or geographically speaking. The angular, arty feel that informs the bands that Sitek has worked with is evident in TV on the Radio's music too, but in a cool, implosive way; combined with the keyboards and electronics that make up the backbone of their songs and Tunde Adebimpe's richly melancholy vocals, they don't sound like any other band out there. Elements of electronica, post-rock, film music, even spirituals and traditional African vocal music combine and recombine throughout Young Liars' five songs so organically that it's clear that TV on the Radio isn't striving to be "eclectic" or "atmospheric": the band is simply using their naturally diverse elements and influences to create something wholly distinctive. And Young Liars delivers just that, starting with the opening track, "Satellite," which begins with a martial, crunchy drumbeat and ominously droning synths before blossoming out into flutes and Adebimpe's close harmonies. Sitek and Adebimpe's collaboration is nothing less than inspired, with Sitek's skills as a sound sculptor providing the perfect foil for Adebimpe, ...
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