Its second album with its new frontman is about surface-level thrills - but it pulls off its exhilarating escapismwas Worthy Farm’s worst-kept secret this side of Chris Martin breaking out the confetti machine at the end of Coldplay’s set. What was arguably more striking was the sheer glee with which the Leicester rockers were received by a heaving tent crying out for old-school, hands-in-the-air rock.
The album springs from the traps with “Darkest Lullaby”, which splices rollicking riffs and jubilant vocals from Pizzorno and argues that nuance is the enemy of good art. Kasabian then swerve in another direction entirely with “Call”, which sounds like Nine Inch Nails trapped in a lift with Kaiser Chiefs – a crossing of the streams that, on paper, should be a disaster but that Pizzorno and the gang pull off through sheer eye-on-stalks gusto.
Kasabian were derided early in their career for their enthusiastic mashing together of lad rock and rave culture. However, they’ve never stopped believing in the unifying power of terrace anthem bangers, and Pizzorno has stated thatwas written explicitly to be belted out to huge audiences in festival fields .There’s plenty to sing along to, and they go full stadium disco on “Coming Back to Me Good”, which filters Daft Punk’s “Get Lucky” through a prism of growling Britrock guitars.
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Source: TheSun - 🏆 64. / 61 Read more »