Kasabian-“Velociraptor”

(Released: 16 September 2011)

Ever since Kasabian swaggered onto the music scene back in 2004, they soon gained a reputation for being a wannabe Oasis, advocating a sort of “laddish lager drinking joie de vivre”. Despite them wearing their influences on their sleeve, I always thought that Kasabian were a band who didn’t need the “boasting bravado” to get themselves noticed. They were perhaps more art-rock and diverse than the musical press gave them credit for. Now with the release of “Velociraptor”, Kasabian have proven that they are evolving as artists, experimenting with retro electronic beats, thus creating cinematic and autonomous out-tros. Again wearing their penchant for attitude-ridden vocals, visceral lyrics and pulsating music, Velociraptor is a voyagenistic album, travelling back to the chic/kaleidescopic 60’s, the affluent Middle East, whilst taking a mild excursion to the synth-pop 80’s.

“Velociraptors used to hunt in packs of four. They stuck together, they were the rock ‘n’ roll band of the dinosaurs. There is something about the power of four, if you stick together, it’s unity. You can move things forward.” (Serge Pizzorno)

Days Are Forgotten

“Days Are Forgotten” is like an undercover animalistic anthem, ripping through the jungle with its cinematic intro, razor-sharp guitars and chest-thumping drums. Despite the “Aaaaaaah” wailing sounding slightly gorillaz-Tarzan-esque, it’s a reminder of the overtly primal energy which Kasabian forever exude. Lyrically the song appears to be loaded with spiritual significance and primordial urges: “You may call it suicide, but I’m being born again, I’m waiting…” . In particular, the chorus sounds like “a car-light-trail” snapshot, which runs in contrast against the Eastern veneer and Vedic chanting out-tro.

La Fee Verte

“La Fee Verte” is like coming around after a heavy night and in Kasabian’s case could reflect too many spiked “green fairies”. With obvious references to the Beatles, La Fee Verte is Velociraptor’s most “trippy-infused” song. It’s a song which drifts in and out of slow and up-tempo melodies, animated with the “kitchen sink” psychedelia of “I am the Walrus”. In particular, the Lennon-esque vocals of Sergio Pizzorno, against the surreal, hedonistic lyrics quantify this Beatles beverage: “I met Dali in the street, he knocked me off my feet. Now I start to see that all’s not well. There’s policemen in my bed telling me I’m dead.” Musically, La Fee Verte is like a drowsy fanfare, which marches beside the subdued violins, telescophic trumpets, whirly synths, morricone horns, dual guitars and prominent drums. It’s also a song whose out-tro manifests itself into a sort of animated “Mr Boo’s submachine”, or even a rickety old “yellow submarine”.

Acid Turkish Bath

“Acid Turkish Bath” is like a majestic, 60’s infused trip to the opulent Middle-East, which curves in an undercurrent of psychedelic waves. The song is like an embodiment of a “beehived belly-dancer”, gyrating and jingling against the baroque violins, springy guitars, glockenspiel and glitzy gongs. Lyrically the song is veiled and abstract, and its slow and drawn out vocals become harmonised and up-tempo during the line “We got to break down the walls to shelter from…” Such an interlude transcends the song into a fleeting mantra for brotherhood, which perhaps encapsulates the essence of the song. Interestingly, during the lines “sending the boys away…”, the guitars race ahead, leaving an enticing trail for the vocals to follow. Meticulously crafted, Acid Turkish Bath is a song which dips in and out of synchronised melodies and one you have to listen to a few times, to appreciate the intricate details.

Switchblade Smiles

“Switchblade Smiles” is a cacophony of brooding and fuzzy assaults, which scramble across an eerie, menacing backdrop. Lyrically the song is dark, oblique and often concealed by distorted vocals and heavy Industrial guitars. Vocally the song mutates from the tranquilised to the The Shamen /Shaun Ryder-esque, delivering lines such as: “Move back his wrecking ball, reach through the package…”. Interchangeable, Switchblade Smiles, switches and flickers like a stream of strobe lights in a dark, underground night club. It’s also a song which manifests vocally in what sounds like either an exorcism or sexual ritual taking place.

Intrinsically complex, Switchblade Smile is multi- layered, meshed together by a series of sonic splodges and sinister synths . Again it’s a song that you have to listen to a few times to appreciate the subtle reverberating details. Lyrics such as “Ring a ring o’ roses, a pocket full of posies” aren’t that obvious, in particular since they at one point play in juxatposition against the Thrilling “Can you feel it coming? Can you feel it coming?”. With no obvious theme in the song, Switchblade Smiles is like a dark entity which slithers and wraps itself around  trapped light. In particular the cinematic cello out-tro suggests that whatever dark force is “coming…” has finally submerged into oblivion.

4 thoughts on “Kasabian-“Velociraptor”

  1. Cool. I’m on tenterhooks and have a piece of my own composition if you want to hear that too?

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