Nineteen Ninety Five, it sure doesn't seem that long ago. Cares in the world were few; cheap beer, ciggies, living for the weekend. I'm welling up just thinking about it. Of course such heady days were acompanied by the juggernaut that was Brit Pop and Supergrass were the teenage kings of the airwaves. Everyone knew them from the most savvy clubbers to the floppiest haired indie kids, I Should Coco soundtracked everything that epitmoised the summer of Brit Pop.The sands of time continue to ebb and a full thriteen years later Supergrass having outlasted many of their peers to release their sixth studio album. The noughties haven't been good to Oxfordshires cheekiest chappies. Having achieved a total of over 1 million UK sales for their first three albums, four and five have shifted less than 200,000 combined. It could be the advent of the digital age, or just an ageing fanbase, or perhaps the loss of youthful exuberance that has seen Supergrass slip from the public conscience. With half the band adopting alter ego's perhaps Diamond Hoo Ha will be the start of a renaissance  The release of 'Diamond Hoo Ha Man', the opener on this album, should have re-ignited the flagging interest. The almost White Stripe opening bars making way to a typically lively Supergrass chorus. 'Bad Blood' follows quickly in its wake to maintain the new found impetus. A squelchy bass line and a sinister sounding Gaz Coombes crashing once again into a riot of a chorus. The early energy soon dissipitates, 'When I needed You' stirs memories of late nights on the town but the rest of the album is all too quickly forgettable; Supergrass by numbers. Having celebrated their ten year anniversary with an essential singles collection, it seems that the latest Supergrass long player confirms their status as a great singles band, but lacking the consistency for the longer format.  By the time DHH gets around to 'Ghost of a Friend', my attention had wandered to the spiralling cost of petrol and next months mortgage payment, not the sixties influenced, sunshine guitar pop spilling forth from the speakers. Things have changed considerably since 1995 but essentially Supergrass have maintained a bright and breezy approach with an added edge of world weariness and experience to lend a maturity to their lyrical stylings. The album closes with 'Butterfly' which melds everything that is good and bad about Supergrass. A bouncing rhythm, reverberating vocals, intertwinned with keyboard and plenty of "oohs" and "ahhs" in the background, but it is the familiarity which could place the song on almost any of Supergrass' last three albums.  Despite the waning public interest, Supergrass have maintined a loyl fanbase. DHH is unlikely to reach much beyond those hardy souls, but a summer on the festival circuit and their hit laden back catalogue may tempt a few new punters into parting with some hard earned cash. 55%Links Supergrass [official site] [myspace]