1 of 3 people found the following review helpful
Half way to a classic,
This review is from: Velociraptor! (Audio CD)
Serge Pizzorno said this album was a classic, and my initial thoughts were to be very worried about this claim, particularly when the cover seems to be adorned with his face (a sign of an ego getting too big?) and first single proper (Days are Forgotten) lacked any of the subtelty or imagination of Fire or Where Did All The Love Go from the last album. However, even with these doubts I still bought it, and for the first half of the album was completely blown away. Let's Roll Just Like We Used To is the best album opener they've done, with great use of instruments that create a flowing feel vaguely reminiscent of Lost Shadow Puppets or Love's Alone Again Or track. Days are forgotten sounds better as an album track following on from this (and it is a shame they didn't get more adventurous with the first single) and then Goodbye Kiss and La Fee Verte combine to move the Kasabian sound forward so far from anything they've done before that you feel that this really is the big progression of an album Serge claimed it to be. Velociraptor is next and is big, loud and fun, pure enjoyment and another track which combines with what's gone before to make this sound like a classic in the making. So far, so good, but then after that it doesn't really deliver to the same high standards. Shelter from the Storm is good but needs another excellent track to follow it to avoid the album losing momentum and sadly I Hear Voices is not that track, its technically proficient, but nothing exciting about it and sounds like an outake from West Ryder Pauper Lunatic Asylum. Re-Wired sounds like it could have improved the Empire album if they'd put it in on that, but that was five years ago and it shouldn't be on here if the band really are moving on. A Man of Simple Pleasures is a return to form, and a track that could be on a classic album, it's just a shame that the tracks before it have let the album down. Switchblade Smiles is back to filler stuff, before a strong closer with Neon Noon, but by that time there is the feel that the album lacks the sixties, eastern influences that made West Ryder such an unusual and innovative album, and that what you have is not a classic, but largely just Kasabian's pop album, a bid for a mainstream market that risks losing them a lot of the audience they had built up with the last album. The best bits are all at the start and it runs out of steam as it goes on. Definitely an album of two halves.