By Oliver Butler (@notoliverbutler)
Coming to an eardrum near you, Kasabian‘s sixth studio album, For Crying Out Loud has finally been brought into the world, covered in sticky Pizzorno afterbirth.
First things first, the cover. Foremost, it is a touching, lovely and humourous homage to their longstanding roadie, Rick Graham, in an industry where roadies are the unsung heroes of many rock bands. Secondly, it’s a little confusing why yer da is crying emojis and they’ve put (2017) quite prominently on the album’s cover, but hey, that’s rock ‘n’ roll for ya. Yer da’s worked hard to get himself on an album cover, the least you can do is be happy for him.
Kicking off with III Ray (The King), the album starts with the trademark punchy lad rock that could be bottled up and sold by Kasabian on the merch stand, the sort that will get crowds moving and get fans strutting down the street. A fantastic way to start the album, and perfect as part of a balanced, nutritional playlist. Whilst this is a twelve track album, a lot of it fails to register with the brain and feels like filler material that’s been quickly thrown together on the bus to school when the album’s due in THAT MORNING AND MR RECORD PRODUCER IS GONNA GIVE YOU DETENTION FUCK!
Tracks suck as Twentyfourseven and Good Fight feel like boiled ham between the bread of You’re In Love With a Psycho and Comeback Kid. Sure, boiled ham isn’t bad, but you’d rather be chewing on some succulent honey roast. With this analogy, You’re In Love With a Pyscho is also a slightly stale piece of bread, but Comeback Kid is a fine piece of sourdough and one of the best tracks on the album.
Comeback Kid was one of the standout single releases prior to the album launch, and it would take someone with a heart of stone not to be lifted by the triumphant horns at the beginning. Whilst Kasabian need not stage a comeback, the message is an uplifting one. Wasted is a moody, dance track and one of the better songs off the album, doesn’t feel like filler material and really gives you the flavour of the personal turmoil that went into this album, the lyrical theme takes you to a time and place where you could still be with the one you love, but as the song suggests, there’s been so much time, wasted, without you.
The mix of styles, genres and influences on this album are incredibly interesting, with Are You Looking For Action? a slow, chilled out track, whereas Bless This Acid House could have been pulled straight from Status Quo‘s back catalogue.
But the question that burns the most is; is this a bad album? No, it’s not a terrible album in any way, shape, or form, but it’s not a good album either. It’s just a bit… yeah, it’s there, like a trifle, or the pavement. It’s not an offensive album, but compared to the first four albums, it’s not one that you could listen to over and over again, there’s no Fire, no L.S.F, no Empire, no Vlad the Impaler. There’s a lack of classic Kasabian anthems that will cause audiences to leave arenas structurally unsafe. Love them or hate them, Kasabian‘s reputation comes off the back of “OOOOOOF”in’ good anthems. Look yourself in the mirror and tell yourself you’ve never sung Fire or Club Foot whilst pissed, because you have, and if you say you haven’t, you’re fronting to look cool.
Kasabian promised that this album would ‘save guitar music’, but a lot of it feels like wasted potential, that this album could have saved the totally-fine-but-we’ll-gloss-over-that guitar music world, but tripped over its own shoelaces as it tried to get over the finish line. Whilst their status as Brit Lads ‘n’ Dads rock royalty will forever be guaranteed by their previous convictions, this album certainly doesn’t feel like a jewel in their crown. They will continue to fill out arenas and stadiums, but this latest offering fails to bring the classic stadium anthems that Kasabian have long promised.
With this album, Kasabian will be lucky if they can save a Word document.
The boys are back with a big bloody bang. Gone is the weirdness of previous effort 48:13, Serge and the gang have gone back to their roots: writing tunes with the sole purpose of making the crowd go fucking mental in a live setting. And with songs like III Ray and Twentyfourseven in their upgraded arsenal, fucking mental the crowd shall go.
7.5/10 – Jake Cordiner (@jjjjaketh)
It’s not the worst thing ever made. As iterated previously, tracks like III Ray have that Kasabian sheen to them that’ll no doubt go down a belter in their abundance of festival appearances. Despite this though, the band do very little to live up to their claim of saving guitar music. Instead of delivering a defibrillator, For Crying Out Loud is a half arsed attempt at CPR.
4/10 – Liam Menzies (@blnkclyr)