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Album Review

Ocean Colour Scene may be comfortable within their tradition, but even they recognize the need to shake things up just a bit — and so they do for their ninth album Saturday, hiring Editors producer Gavin Monaghan to give them a fresh coat of paint. It is not a major refurbishment, just a slight touch-up that does the group considerable good, revitalizing the band’s post-Pepper foundation. All their trademarks are in place — in particular, there’s no getting OCS out of Traffic — but they’re clever enough to acknowledge their consistency by having opener “100 Floors of Perception” hailing back to “Hundred Mile High City,” and spend much of Saturday hitting their British prog-folk influences a little harder, letting “Mrs. Maylie” drift into an English garden and flirting with the bombastic on “Harry Kidnap.” Ocean Colour Scene balance these precious inclinations with a ballast straight out of the Who at their prime (the closer “Rockfield” is a virtual distillation of Who’s Next), giving Saturday backbone and momentum, making this an elastic, expansive listen, a record with brighter, richer colors than its immediate predecessors.


Formed: 1989 in Birmingham, England

Genre: Rock

Years Active: '90s, '00s

Falling between the energetic pop/rock of mod revival and the psychedelic experimentations of Traffic, Ocean Colour Scene came to be one of the leading bands of the traditionalist, post-Oasis British rock of the mid-'90s. Although they had formed in the late '80s and had several hits during the height of Madchester in the early '90s, the band didn't earn a large following until 1996, when their second album, Moseley Shoals, became a multi-platinum success story in the U.K. Their ascent was greatly...
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Saturday, Ocean Colour Scene
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