Kasabian - Velociraptor!

One of the most eagerly-anticipated albums of the year is here at last, so here's what I thought of Kasabian's 'Velociraptor!'

The bets are off. Oasis imploded to leave the lad’s choice rock band up for grabs, but that title has been taken. No, not quite by Arctic Monkeys, who are still just that little bit to hesitant. No, Muse are too hard-edged, and no, Coldplay aren’t nearly hard-edged enough. Nope, step up Kasabian.

Strutting in with Gallagher confidence, Stone Roses grooves and a healthy dose of rock ‘n’ roll nostalgia, new album ‘Velociraptor!’ sees the Leicester boys rise to that stadium-sized alter. Confident, anthemic throughout, yet experimental, inventive and ever changing, it’s addictive from first listen, packed to the brim with exemplary tunes and shows Tom Meighan and Serge Pizzorno are now at the head of British music.

Arriving full of suaveness and swagger, Tom croons through classic opener ‘Let’s Roll Like We Used To’, which gives a nod in the direction of the Last Shadow Puppets, and the quality doesn’t drop. Storming lead single ‘Days Are Forgotten’ stands as one of their most anthemic songs yet, just as sing-along thumper ‘Re-wired’ and bouncing electro-rock ‘Velociraptor!’ will very soon.

‘Goodbye Kiss’ is a slick, climbing ballad with some piercing lines (‘Run along like I’m supposed/Be the man I ought to/Rock and roll sent us insane/I hope someday that we will meet again‘ is the pick), while ‘Man of Simple Pleasures’ is a slow-paced languid rocker. ‘Switchblade Smiles’ lifts the latter half with a spontaneous Prodigy-esque groove with a hard guitar edge.

But it wouldn’t be recognisably Kasabian if it wasn’t for that neo-psychedelia, and on ‘Velociraptor!’ it has never been better. ‘I Hear Voices’ is a sparse but instantly likeable head-bobber which wins it with the line ‘They hunt for rabbits/Just like Yosemite Sam’, while ‘Acid Turkish Bath (Shelter From The Storm) evolves into a constantly shifting, almost prog-rock six minute wonder. The winner though is ‘La Fee Verte’; Serge with a deliciously-tempting vocal, an undeniable chorus and that spaced-out, drug-fuelled subversion we all know and love, though it almost topped by the chilled and mellow brilliance of perfect closer ‘Neon Noon’.

It’s impossible to pick the best track out of a high-quality eleven, and who would want to? They have all their cards on the table; the shout-‘em-out, grab-the-lad’s anthems, the infectious psychedelia and the mellow come-downs. It’s confident and assured, easy-going but interesting and seals their assent to the summit of British rock ‘n’ roll. Coming to a stadium near you soon.

Great record, and extremely hard to pick a favourite tune, but I've plumped for 'La Fee Verte'.

NWR

The Kooks - Junk Of The Heart

The happy-go-lucky Kooks are back with their third album and here's what I thought of it:

In that sunny paradise of 2006, The Kooks were at the head of everyone’s summer playlist. ‘Seaside’ slowly strumming on the shore, ‘Naïve’ at your house party and ‘She Moves In Her Own Way’ sung along in that balmy July sunshine. Luke Pritchard’s drone and his band’s bright pop were an essential part of any teenagers’ MP3 players. But five years on, how do The Kooks fit in?

Well, pretty much where they left off to be fair. New album ‘Junk Of The Heart’ doesn’t deviate much from the styling’s of debut album ‘Inside In Inside Out’ and more mature follow-up ‘Konk’; it’s the same simple and smiley guitar pop, and whereas they don’t exactly reinvent the wheel, it’s a welcome reminder of how damn catchy the Brighton four-piece can be.

‘Take A Picture Of You’ is a prime example. Lazy acoustic guitars with that ‘Seaside’ vibe, a lyric loaded with sentimentality (Each time I close me eyes/I can feel you is just a snippet) and a gently soaring chorus complete a simple but instantly lovable indie pop track. It’s what The Kooks do best; just have a listen to the bouncing happiness of opener ‘Junk Of The Heart (Happy), the plush ‘How’d You Like That’ or cheery first single ‘Is It Me?’.

There are genuine attempts to grow slightly. ‘Fuck The World Off’ is of a moodier ilk, almost country in style, while the electro-bobbing ‘Runaway’ and orchestral wonder ‘Time Above The Earth’ show a different side to The Kooks. But for these small and often cute experiments; they still pack their punch with the indie love songs, even if there is enough schmultz to gag a teddy bear.

‘Petulia’ is a sombre and almost medieval acoustic strum, ‘Killing Me’ is a loose and languid tale of a special lover (It’s killing me/The thing that you can do/That no one else can do to me at all – no lyrical surprises here) and ‘Mr. Nice Guy’ is a more industrial and beat driven closer. The best of decent bunch comes in ‘Eskimo Kiss’, evolving from up-beat twangy folk to a rousing ‘la, la, la’ sing-along.

2011 is a vastly different arena to that of 2006, it’s no longer indie sunshine and bliss, but no-one’s told The Kooks about that. Although it’s not as good as their first two efforts, Luke Pritchard still knows how to write sweet hooking melodies and ‘Junk Of The Heart’ has enough cheery summer tunes to seal a solid return.

Worth a listen for sure, and here's my favourite track 'Taking Pictures Of You'.

NWR

Red Hot Chili Peppers - I'm With You

The funk-rock kings are back with their tenth album and here's what I thought of it:

Not many bands are still going when it gets to the tenth album. Even fewer are considering completing their third decade together, with only two of the founding members. Even fewer still would have recovered from the departure of semi-godlike guitarist John Frusciante. But the Red Hot Chili Peppers just keep on going.

Almost thirty years on from their eponymous debut, the Chili’s are at it again tenth studio record ‘I’m With You’, and it cements their status as their funk-rock kings. After 2006’s technicolor all-consuming 28-song compendium that was last album ‘Stadium Arcadium’, 2011 sees a much more compact 14 tracks and a more restrained Peppers (complete with new guitarist Josh Klinghoffer), and it makes for a very enjoyable listen.

There are moments where ‘I’m With You’ threatens to become very good. ‘Factory of Faith’ is a prime example of the Chili’s infectious funk along the same vein as ‘Suck My Kiss’, while ‘Look Around’ bounces around with a spritely enthusiasm, as does Africa-influenced ‘Ethiopia’. The best comes in ‘Goodbye Hooray’, with an excited performance, a climbing chorus and pacy from the off for the killer track.

Along with this, there are some touchingly heart-rending moments. ‘Brendan’s Death Song’, written after the death of close friend and promoter Brendan Mullen early in the recording process, is chillingly poignant and creates a triumphant mood rather than a downbeat one. The emotional ballad ‘Police Station’ (a story of the L.A. Police) and the apologetic ‘Meet Me At The Corner’ (Meet me at the corner and tell me what to do/Cause I messed up on you) come in just behind.

Past these highlights, the songs slink by seamlessly but not with much impact. Their funk rock is here as that familiar touchstone (bobbing opener ‘Monarchy of Roses’, contagious first single ‘The Adventures of Rain Dance Maggie’ and effortless closer ‘Dance, Dance, Dance’ good examples of this), but on the most part it is easy listening; agreeable, not hooking.

Take ‘Did I Let You Know’ for instance. Gleaming production and extremely poppy, full of luscious guitar licks and with Klinghoffer’s colder falsetto backing to Anthony Kiedis’ expert vocals, it’s pleasing but it’s not ensaring. Substitute in any of the baroque march ‘Happiness Loves Company’, the chugging ‘Even You Brutus?’ or ‘Annie Wants A Baby’. They’re good, not great.

‘I’m With You’ sees a solid if unspectacular return for the Red Hot Chili Peppers. Fine moments and a band with a lot left to offer, but with perhaps more thoughtful experiments than stadium-rocking hooks on their tenth time out. Still, it seems nothing can floor Kiedis and Co. just yet.

Good effort, and here's my favourite track 'Goodbye Hooray'.

NWR