The Doves. The Libertines. The Strokes. Success in the United Kingdom has become a clear indicator of a subsequent positive reception for bands here in the States. With the self-titled debut album hitting American music store shelves this week, it is unlikely Kasabian will face a situation any different.
The quartet, consisting of vocalist Tom Meighan, guitarist Sergio Pizzorno, bassist Chris Edwards and keyboardist Chris Karloff, has earned nothing but praise since the British release of Kasabian this past September. The single “L.S.F. (Lost Souls Forever)” debuted at the number 10 spot on the charts. The album itself peaked at number five less than a month after its release. Fans were so demanding of tickets, the group added shows to their current tour in the UK.
British listeners love the classic rocker motivation Pizzorno displays in an MTV Advance Warning interview, saying, “we decided to join a band because we didn’t want to get proper jobs. We just wanted to look like Mick Jagger and Keith Richards.” They have been waiting for such a band with the arrogance of Oasis and the ability to match it.
Named after Linda Kasabian, driver of the getaway car for Charles Manson, the band finds no qualms with standing out, whether it’s by such attitudes or their sounds. The Kasabian brand of electro-indie rock finds its influences anywhere from the standard Beatles to the experimental Blackalicious. Most evident, however, are the sounds reminiscent of Primal Scream and the Stone Roses.
The sounds of album opener “Club Foot” — an ethereal intro and outro bracketing addictive synth effects — display the early 80s and late 90s house influences heard throughout the tunes it precedes. From that moment, regardless of whether or not the listener is rolling along with the musicians, their sounds will do an excellent job of making them feel trippy. For an hour, the lads from Leicester serve as guides for quite a journey — from the bit of Arabian cues in “I.D.” to the mysterious intensity belonging in a James Bond film of “Ovary Stripes” to the underlying Texan guitar twang of “Running Battle.”
The weak spots are most notable with underdeveloped lyrics. Three themes — drugs, internal voices and external attack — run as rampant as the inevitable presence of “aaaahhs” in each tune. Some artists will sarcastically claim cocaine fuels their songwriting. For others, a mere glace at the lines leaves the question of inspiration a foolish one to ask. Consider the lyrics of “Cutt Off,” — “John was a scientist/he was hooked on LSD/Interested in mind control/and how the monkey held the key … /chew the backbone/a solar system these clever convicts.” Similarly, “Butcher Blues” boasts the thematic schizophrenic sense with the lines, “When I say I’m fightin’ the dead/Lyin’ low across the evening/Can you see the lumps on my head? /But I got these voices that just keep singin’ out/Saying “I just can’t stop losin’ control.”
On the other hand, the political veins woven here and there reveal even the slightest bit of heightened consciousness, proving Kasabian is not solely a collection of overly self-confident rockers. The album ends with “U Boat,” a prime example of the aforementioned political tone. With haunting vocals, Meighan sings, “You want me so come get me/I’m standing with my allies/Sellin’ arms to strangers/Watch them shoot ya down.” The closer also serves as a clear demonstration of Kasabian’s musical craftiness. Though significantly quieter than the dance floor beats of the previous 12 tracks — making it unlikely to be an anthem for electro-indie fans — the song makes more evident Kasabian’s ability to carefully mix standard band instruments — the guitars and drums — with electronic infusions.
Regardless of the frenzy they are currently causing in the UK, it will not be long before American iPod campaigns pick up any number of Kasabian songs for musical backdrops. Soon house party attendees will dance with the pulse they provide. The only question raised by the successful execution of Kasabian is where they will take listeners next.
Grade: A
