On the eve of their critically acclaimed fourth album Velociraptor! in 2011, Kasabian songwriter-in-chief, producer, mixer, apparent visionary (and pretty much everything else related to the band’s impressive musical evolution) Sergio Pizzorno declared that the objective was to both form and craft the sound of a ‘futuristic, electronic rock band… Combining elements of the most celebrated dance festivals with that of the great rock bands.’
Three years on and Kasabian’s innovative, ultra-modern musical approach is still very much in full swing – and having the desired effects Pizzorno so desperately craved. Their first offering from upcoming fifth album, 48:13 (released June 9th), ‘Eez-eh’ is perhaps the Leicester-band’s most convincing deviation from the indie, neo-psychedelia we have become so accustomed to in recent years to the more electronic, acid-house influenced outfit that characterised the band’s eponymous debut album. Indeed, Pizzorno swaps guitars for synths in this rave-ready experimentation that has produced yet another left-field anthem in Kasabian’s rapidly growing arsenal.
There’s always a concern, perhaps understandably so, when a leading member of the indie establishment tries their hand at a more experimental, untried genre. However, Kasabian’s fast-paced, adrenaline-charged comeback undoubtedly marks an effortless return to previously trodden-ground. The opening bars provide an exhilarating tempo and tone, seemingly never surfacing for air or relenting whilst invading your senses with a frantic, reverberating energy. Chris Matthews’ groovy bass-line, interwoven with frontman Tom Meighan’s snarling, swagger-driven lyrics gives Kasabian a new, more rave-driven dimension whilst providing echoes of Primal Scream and Prodigy at their most electronic.
Lyrically, Meighan takes a rather tongue-in-cheek approach to today’s more controversial topics, at one point howling the words, “horse-meat in the burgers, people commit murders, everyone’s on bugle, we’re being watched by Google.” (Yes, you read right, they managed to squeeze Horsemeat burgers into a song). Hardly a serious stance on the world’s issues, but Kasabian retain their infectious fun and tongue-in-cheek attributes. Perhaps the most striking thing about the tune is the obvious loss of Pizzorno’s guitar. The use instead of synths and keyboards serve to enhance the rave-element to the track.
Whilst, ‘Eez-eh’ may not have the electronic prowess of previous attempts such as ‘Club Foot’ or ‘Processed Beats,’ it is perhaps their most fun and outright rave-ready anthem they have produced in years, undoubtedly signalling a return to their earlier dance and electronic roots yet providing substance to their remarkably consistent musical advancement and diversity. Kasabian are back alright, and ‘Eez-eh’ will be sure to have you raving across their hectic festival circuit this summer.
