Kasabian

Week 28: Kasabian- Happenings

~ honestopinions19 ~ Leave a comment

The band nearly had their secret show at Glastonbury this year exposed by a social media post. Frontman and guitarist Serge Pizzorno was alerted by a plumber about the post after he was asked about the show. The band has been touring with their new frontman Serge, playing songs from their debut album( Under Serge, anyway.)as well as their classic hits since 2022. Last year, they released the lead single “Algorithms” from their upcoming album, so fans have been eagerly anticipating new developments.

Unlike some, I’ve found the band’s transition after Tom Meighan’s departure to be seamless. While Serge’s new material may be more influenced by hip-hop and rap, his stage presence is truly captivating. As the previous album review highlighted, Serge is a natural frontman, exuding energy and connecting with the crowd. This, in my view, has significantly enhanced the quality of the shows. I also admired the band’s willingness to explore new musical territories with the previous record, particularly Serge’s take on hip-hop and grime.

We start with ‘Darkest Lullaby’, and it’s a start that’s bound to catch your attention. A captivating groove, rich with funk, instantly transports you back to the disco-funk era of the 1970s. But here’s the twist- this isn’t the hip-hop-infused track we might have expected under Serge’s leadership. It’s a refreshing departure that’s sure to intrigue you.

This is followed by the second single off the record, ‘Call’, which has been out since February, so the fans will be familiar with it. I cannot wait to hear how this one does in a live show because there is a chant there, which Serge will encourage the crowd to join in with. It also makes you want to get up and dance. A short, punchy track, ‘How Far Will You Go,’ follows; it is just under two minutes and is the ideal track for you to upload on TikTok and join the fun. The tempo is then brought down for the serene ‘Coming Back to Me Good.’ 

The album maintains a mellower pace with ‘G.O.A.T’. This track, inspired by Serge’s solo material, SLP, is a potential game-changer for Kasabian’s sound. Whether it is embraced or not, this influence is likely to be felt. The track also carries a darker vibe towards the end.

The track “Passengers” by Kasabian has a vintage feel. It includes a strong rhythm section with Ian Matthews on drums and Chris Edwards on bass. Additionally, it features great guitar work by Tim Carter and Serge’s trademark harmonies.

We then move on to “Hell of it”. All there is to say is that it’s vintage Kasabian, featuring the audience participation chorus.

The penultimate track ‘Bird in a Cage’ is simliar to ‘G.O.A.T’- Mellow yet dark.

The album closes with the leading single, as mentioned in the first paragraph. It is simply an uplifting track. It complements the whole record in a nutshell. My only complaint is that I feel Serge has been bullied into abandoning the new Kasabian we heard on “The Alchemist’s Euphoria”. This one seems to have taken a backward step and is more vintage Kasabian, reminiscent of their earlier, more rock-oriented sound. That isn’t bad, but I’d rather Serge steer the band with his vision rather than what the purists want. I also found it underwhelmingly short, with the album lasting just 28 minutes. Most of these songs could easily fit into an extended play.

Song recommendations: ‘Call’, ‘G.O.A.T’, ‘Passengers’

7/10

Week 33: Kasabian- the Alchemist’s Euphoria

~ honestopinions19 ~ Leave a comment

Serge Pizzorno was born to be the frontman since Tom Meighan’s valid departure. Serge has been brilliant taking on the role during the current tour. Seeing the band and the ferocious levels of energy Serge brings has been a pleasure. The new album incorporates the S.L.P., which is the solo moniker of Serge. Here is the reason why in a track-by-track review coming up shortly. Firstly, I would like to say that maybe the purists will not like this new-sounding Kasabian, but for me, it works. You have elements of hip-hop, grime, indie/alternative rock, and futuristic sounds. 

Now, onto the review. I am not sure how this will play out; I might get carried away, or it might be short. Bear with me:

ALCHEMIST:

STOP SHOUTING! You discover that the majority of the titles are stylised in block capitals. The opening track is the sound of waves crashing, which is unusual for an album by Kasabian; however, this is under Serge’s command. Serge sends a clear lyrical message about the direction the band is heading under him. The lyric ‘Shut the door on your way out if you’re leaving’ is a clear message to those fans who dislike the new dawn because It IS a new dawn.

SCRIPTVRE: 

Unlike many of you who saw the band perform live, my introduction to the new Kasabian was when they appeared on the Spring edition of Later…with Jools Holland. I loved Serge’s energy during this performance and how he had the audience, fellow artists, and Jools Holland in the palm of his hand. I loved the attitude in his vocal delivery/ rapping and the profound lyrics that indicate the onus now put on him. This performance alone showed me that the band were in safe hands under him.

ROCKET FUEL:

The first track that reflects the remnants of the old Kasabian in terms of how it keeps your attention; the track is more suited to beat break with 808s, hi-hats, and hip-hop( Expect a lot of hip-hop and grime.).

STRICTLY OLD SKOOL:

Serge again touches on the changing of the guard and how he brings a sense of originality to his concept for the band.

ALGATYR:

Another track that was performed on Later…with Jools Holland. The vocal sound effect is adopted by bands such as Muse, who use it significantly in their “Supermassive Blackhole’ song. The overall sound is powerful, and Serge’s rapping could efficiently be utilised over a grime beat. Another song full of energy and lends itself more to grime than Kasabian’s once rock sound.

AE Space:

Why, oh, why do artists/ bands do this? I have no time for interludes/preludes. They are nothing but short throwaway tracks where either the lyrics were not built upon or simply the writer(s)couldn’t be bothered. These intermissions, to me, are merely a “Fuck it. That’ll do” moment on an album.

THE WALL:

A melancholic song about relationship troubles.

T.U.E(the Ultraview Effect):

This one has the essence of a Pink Floyd song and certainly takes its roots from progressive rock.

STARGAZR:

Futuristic sounding track with keyboards gives it that space feel before completely turning on its head after the halfway point and becoming more hip-hop that you would have heard in the 1990s. Not surprising when you consider that Serge would have grown up with that kind of hip-hop being a young kid in the 90s.

CHEMICALS:

Now, I did hear this one before the album was even named. I believe they were performing in Glasgow. I remember seeing this on YouTube. Serge’s message is, “It’s going to be tough without Tom, but stick around, and things will improve under me”. It’s more a song of assurance addressing the fans.

AE Sea:

Another pointless interlude includes the sound of the waves crashing. A moment of calm, if you will, on the record.

Letting Go:

The acoustic guitar makes an appearance to close out the album. A song of what’s been has passed. Serge talks about the past, referring to the old Kasabian and the future with him at the helm. He even brazenly adds at the end, ‘It just got better now’. When you hear this record, you will understand why. This is the new dawn, and it’s going to get better. Serge is taking Kasabian into another realm, and you want to jump on the spaceship for it.

Song recommendations: ‘SCRIPTVRE’, ‘ALGATYR, ‘STARGAZR’

8/10

Week Nineteen: Kasabian- For Crying Out Loud

~ honestopinions19 ~ Leave a comment

kasabian_crying_out_square

One of the last bands of the pre-social media generation, Kasabian have still kept the fire burning and continue to keep doing rock n roll after their predecessors, Oasis, very much alive and relevant in an era where the singles charts are being saturated with piss poor lyrics and instrumentation. “For Crying Out Loud” shines a light on the whole music industry and makes you punch the air triumphantly, knowing that the likes of Kasabian can still crush the pathetic pop we hear in the singles charts when rock music was supposed to be well and truly on its last legs. I noticed with the record that Serge Pizzorno is heavily influenced by Tamla Motown, which can be heard on the mid-tempo tracks like the opener, “ill Ray(the King)”.

There’s also a nod to a band who benefited from those heady days in the mid-90s that constantly appeared on Thank Four It’s Friday, Mansun with the track “You’re in Love with a Psycho” akin to “Stripper Vicar”.

There’s also a change in attitude from vocalist Tom Meighan who, for the majority of the record, leaves behind his cocksure and sneering delivery. The best thing to happen to Tom in 2016 was that his beloved Leicester City won the Barclays Premier League (2015/16) after surviving relegation the previous season and was unanimously predicted to be relegated. Still, they defied the odds with a squad of rejects led by the charismatic Claudio Ranieri to make a fantasy played out usually in games like FIFA become a reality. Other than that, it was a turgid year for Tom, having to get over a relationship and living out of other people’s pockets, in stark contrast to Serge, who loved every moment of his life. The attitude is still on the record, but as you can imagine, this time around, Tom is displaying the pain of having to move on after a breakup. Although Serge is the chief songwriter for the band, on the track “Put Your Life on it”, which in fact closes the album, you can hear that Serge’s personal lyrics to his wife affect Tom, and you can listen to the emotion quite evidently in his vocals. Is this more humble side a new direction in Tom’s delivery? Only time will tell.

Of course, don’t be fooled by these new tamla motown and psychedelic sounds to the band because we also get the typical Kasabian wall of sound with tracks like “Come Back Kid” and “Are You Looking for Action?”. Credit where it’s due, though, to the band venturing out of their comfort zone and willing to experiment, which can be heard on “All Through the Night”, which appears to be the slowest track they have ever done. Then, you have one that will definitely cause much debate over the whole of the industry, and that’s the reggae themed “Sixteen Blocks”, albeit there’s a very catchy chorus that is so exquisite that it would send chills down your spine hearing it sung by a crowd with their arms aloft at stadiums, arenas and outdoor festivals. Remember this, Oasis thought very highly of Kasabian (to the point where Kasabian wanted Noel Gallagher to join them after Oasis split.), and Noel Gallagher would approve of this being quite a big fan of the legendary reggae star, Bob “Tuff Gong” Marley so, for all you Kasabian hardcore fans readying yourselves to slate this track bare that in mind.

This record has a very gritty production with Tom’s more humble delivery and Serge’s guitar shredding that fit nicely over the top. I can’t tell you if it will get the critics to finally give the band credit they have moaned about not getting over the last few years, but it will make the critics sit up and take notice that Kasabian is more than just stereotypically Indie. The record also proves that Kasabian is not dead in the water and remains relevant with Tom’s more humble delivery and Serge’s guitar shredding. A bit of trivia here to end this review, the guy on the album cover is one of their roadies.

9/10