Supergrass

If a band isn't popular in America, does it still make a sound? In Supergrass's case, the answer is decidedly, "Yes." While the Manchurian foursome has been received stateside with general apathy, they are still justifiable rock stars overseas. Their sixth album Diamond Hoo Ha Man will do little to change that discrepancy. Whether they intend to or not, the band writes distinctively British music recalling The Jam, Franz Ferdinand, and everything in-between, and this punchy collection of glammed-up rockers (not necessarily the same as "glam rock"), like the previous two releases, will also probably get lost in customs.

Thirteen years into their career, Supergrass still performs songs "Ghost Of A Friend" and "Rebel In You" as if Brit-Pop was still very much alive but alas, their early-'90s peers have all either progressed (Radiohead, blur) or disappointed (Oasis). Supergrass, as it sounds, are content with how things were. Which isn't necessarily a bad thing, it's just that America's fascination with British rock ended in like, '97.

—Arye Dworken
06.30.08

After spending a dark, contemplative night on the Road to Rouen, Supergrass come crashing back to life with Diamond Hoo Ha, an album every bit as cheerfully gaudy and vulgar as its title. It all begins, as it should, with "Diamond Hoo Hah Man," a wicked send-up of the White Stripes' gonzo thump that rivals "Blue Orchid" and "Icky Thump" in its outsized swagger, while providing the touchstone for the rest of the record, not so much in its sound but in its attitude. Not that Supergrass doesn't crank the guitars here, as they offer up the stomping Stooges shuffle of "Bad Blood" and spangly "Rebel in You" in quick succession, but after this furious opening triptych, the band widens their net and lightens their touch, reconnecting with their signature impish humor that was quite deliberately missing on much of Road to Rouen despite its punning title. At times they actually overplay their mischief, overloading "Whiskey and Green Tea" with too much stylized British whimsy, it threatens to topple over on the weight of its braying brass. This isn't the only time that the band doesn't seem to fully have their urges under control, as there are a few pop tunes toward the end of the record that don't quite click as their hooks aren't finely honed. This is how Diamond Hoo Ha differs from 2002's incandescent Life on Other Planets which offered song after song that effortlessly dazzled. Here, Supergrass seem to labor a little to achieve such high times...but only toward the end of the record, which is solid and well-crafted but lacking the glorious, giddy highs the band offers at the beginning. However, that first half -- somewhat ironically ending after the jazzy soft rock sheen of "Return of Inspiration" -- holds its own with the best of Supergrass, filled with mammoth melodies and unbridled fun. It's more than enough to make Diamond Hoo Ha worth hearing, and it's just enough to illustrate the difference (and the merits) between inspiration and craft. ~ Stephen Thomas Erlewine, All Music Guide