I feel this could be the quickest review I ever write because I think both you and I know exactly what is going to be in it.

This is a decent-enough record, rockier than Road to Rouen, but basically the only reason I bought it is because I so loved In it For the Money, I Should Coco and, to a slightly lesser extent, their self-titled album from 2000.

Basically, Supergrass’s better days are long since behind them and although I have plenty of respect for the fact that they seem to be challenging themselves and approaching each album a little differently, I am afraid that, as far as my ears are concerned anyway, their capacity for writing consistently infectious tunes has quite simply been used up.

There are a couple of decent tracks on this, which I am going to post, but does anyone else who’s heard this think that they’ve started to sound just a little bit like Stereophonics*?

Supergrass – Diamond Hoo Ha Man
Supergrass – Rebel in You

website | hype | amazon

*Just in case you have no taste whatsoever, this is an incredibly bad thing. But no-one who would need that pointing out to them could be reading this could they? Could they?

I’ve already confessed that it is rare, if not unheard of, for me to instantly take to an Elbow album.  I couldn’t tell you why but they seem to take months, if not years sometimes, to gently slide into my subconscious.

This one has been helped on its way by a brilliant live performance in Glasgow a week or so ago which is likely to have a massive influence on this review, let’s be honest.  I’m listening to this album, not in the usual vacuum, but flushed with smiles from one of my favourite live performances in ages so some of that warmth inevitably spreads into the mood in which I approached this record.

If you think that was a good start for my relationship with Seldom Seen Kid, then imagine the grin that spread across my face as the brilliant opener Starlings introduced itself.  The occasional burst of horns punctuates one of Garvey’s lighter – not light, per se, just somehow sprightlier.  The Bones of You and Mirrorball are more typically lovely Elbow moments, before Grounds For Divorce breaks out the riffs and reminds you that these guys can make a real fucking noise when they want to.

There’s something Big about Elbow – something grand maybe.  Epic, perhaps.  It doesn’t come across as grandiosity though, just an honest lack of self-consciousness about their music.  They don’t hide in irony like many bands nowadays.

I’m still working my way into the end of the album.  I’m loving about as far as The Loneliness of the Tower Crane Driver and the brilliant The Fix, but I’m still to get to the last few songs.  As with most Elbow records I am guessing that this will come with time.  A gift that keeps on giving.  Buy it, it’s beautiful.

Elbow – Starling
Elbow – The Fix

website | hype | amazon

It’s a jam-packed fucker of a week in Edinburgh this week.  On Wednesday there are no less than three gigs that I want to attend, and we even have some sold-out cutting edgeyness to boot – unheard of for the unofficial Least Rock ‘n’ Roll City in the Universe, Including Bath.  The Kills and The Courteeners are both playing here this week, but seeing as the latter is sold out and I had no intention of going to see either I am not sure this merits further mention.

Monday 14th April: The Radar Brothers at Cabaret Voltaire.
They’re signed to Chemikal Underground and sound a little bit like early Grandaddy did in their gentler, more reflective moments.  Every reason to take a chance and go along.
The Radar Brothers – Hearts of Crows

Wednesday 16th April is where it all gets messy.  There are  three gigs to attend tonight, much to my frustration:
Hollow Heart Parlour at Henry’s Cellar Bar.
This is a folk night, with the excellently-named My Kappa Roots headlining this week.

Y’All is Fantasy Island, Gasgiant & Rob St. John at the Wee Red Bar.
Euan at Trampoline has put together another brilliant lineup, with Gasgiant (I know nothing, sorry) and very well-regarded indie-popsters Y’All is etc etc.. joining the brilliant hush-folkster Rob St. John for what should be a brilliant night of upcoming tunesmithery.
Y’All is Fantasy Island – With Handclaps

Broken Records Single Launch Party at The Bongo Club.
The fact that this feels like partly my party too perhaps helps explain the culture of liggers and groupies that grows up in the music industry, but a combination of being one of the first to spot these guys, the fact that they did the first Toad Session and of course the fact that a combination of beer and their live show is the reason Song, by Toad Records exists makes this one more personal than most.  Congratulations lads, I’m really looking forward to getting irredeemably pickled in celebration.

Wednesday’s Conundrum: Euan at Trampoline and the lads from Broken Records have tried to come to a compromise so people can see everything.  The last band at the Wee Red Bar will be over in time for people to high-tail it down to the Bongo Club to catch the Broken Records set and any Broken Records ticket-holders will get a deal on the door at the Wee Red as well.  Myself, I have really thought about it and I am going to be at the Bongo Club all night.  The reasoning?  Well this is a really special night for a group of lads I consider friends, so as much as I would like to catch YiFI and Gasgiant, I will get a chance to see them again, and I saw Rob at Homegame quite recently.  So apologies to Euan for not supporting his excellent Trampoline night this time, but it wouldn’t really feel right somehow.

Friday 18th April: The Mystery Jets at The Hive.
I’ve never been to the Hive before, and this gig is just a little pricey, but I’ve been rather enjoying the new Mystery Jets songs, so I might pop along to see what they’re like.
The Mystery Jets – Flakes

Sunday 20th April: The Wave Pictures at Cabaret Voltaire.
Yes, the fucking Wave Pictures!  Oh yes, yippee, hooroar!  I can’t believe these lads are playing here, but fuck me I’m delighted.  Free oral sex for whichever genius booked them – male or female!  You have got to get your arses down to this gig in the name of all that is rough, scratchy and faintly out of tune.  And to make matters even better, support comes in the form of an acoustic (well, bassless and drumless) set from The Kays Lavelle.
The Wave Pictures – My Kiss