Supergrass

I Should Coco arrived in 1995 with the force of a band discovering how much it could fit into a short song. “Caught by the Fuzz” had a breathless narrative drive, while “Mansize Rooster” and “Lenny” supplied different kinds of comic and musical exaggeration. “Alright” became the most visible moment, yet its sunny immediacy did not contain the whole personality of the album.

The Oxford group’s playing gave the record its freedom. Parts could be forceful without becoming heavy-footed, and the songs borrowed from older pop and rock without sounding like careful demonstrations of taste. A sudden harmony or keyboard colour might change the character of a passage. The energy was youthful, but the musicians already understood the value of contrast, timing and leaving the memorable detail in the right place.

In It for the Money in 1997 widened the arrangements and deepened the mood. “Richard III” was urgent and abrasive; “Late in the Day” allowed a slower thought to unfold. The record moved confidently between those settings, finding space for more elaborate production while keeping the band’s rhythmic identity. It is a particularly good place to hear how much musical curiosity sat behind the early image.

The self-titled 1999 album and later releases such as Life on Other Planets and Road to Rouen continued that movement. Melody remained central even as the songs became more reflective or the textures changed. Supergrass are worth hearing across that whole arc. The early rush is a real pleasure, but the catalogue becomes more distinctive when its melancholy, craft and willingness to change pace are given equal attention.