Released 20th October 2008, Universal, B-Unique,
If staying on top of the musical game is what the Kaiser Chiefs have in mind, they've certainly slammed it home with their third studio album. From the harsh carnival of 'Spanish Metal' to the electro-pop vehicle of 'Good Days Bad Days' the Chief's third offering showcases a propensity to evolve while retaining the pop sensibility of the previous records, resulting in a firm re-injection back into the throbbing vein of popular culture.
Released eighteen months after 'Yours Truly Angry Mob' the band return to delivering their usual array of melodic hooks and grooves, coupled with a whole host of lyrical gibes aimed at the culture and politics of our beloved Blighty.
The first track on the album demonstrates their ability to ricochet riffs off each other as well as showing definite soundtrack potential. Despite subtle innovations here and there, one still gets the sense that full on mainstream appeal is set further forward on their 'to do' list.
'Never Miss A Beat' is a reminder of Ricky Wilson's tendency to approach the subject of British youth and re-package it into a catchy slogan. The flat out percussion, circling melodies and crescendo chorus lines a plenty left me impatient to hear if the remaining tracks would prove to be as pleasing to the ear.
'Like It Too Much' forced me to recall Queen's first 'best of' album. The intro growls, stomps and eventually works its way under your skin. Just as you've finished absorbing the first part there is a new hook in the track. The close of the song sees a slightly psychedelic jumble followed by an addictive chorus.
I wish I could begin some kind of malignant ode but unfortunately I have to say that 'You Want History' hits the spot. Even with my alternative leanings of late I have to give this track the credit it deserves. The percussion hits you at every perceivable angle. Nick Hodgson steps up the game on this record, showing us that his rhythmic armoury includes disco-rock, bebop and tribal.
'Can't Say What I Mean' makes full use of the talents of Nick Baines on keyboard, whose dance-along finger work synchronises perfectly with the lyrics. A deep bass throng and guitar chords so tasty you want them between two pieces of bread mean we're left with yet another winner.
Now here's an interesting track. Does anyone still listen to The Strokes? Well I hope so, because I thought I was witnessing a reincarnation with 'Good Days Bad Days'. That was until the chorus line. The track in question is called 'On the Other Side' from the album 'First Impressions of Earth'. Take a listen and you'll get the picture. The similarity is uncanny and immediate. The disappointing realisation that this is album sandwich filler grips you pretty quickly. I suppose that explains why it's track number 6 on the record.
'Tomato In the Rain' begins with a keyboard melody that wouldn't be out of place in a 1960's anti-war montage. The bass player does nothing to contradict this mental image, tapping out a slow seductive storm across the mix. The guitarist follows by deploying a selection of notes that warble, linger and blend effortlessly into the verse. At 0:40 the song can be distinctly attributed to the Kaiser Chiefs which wouldn't have been the case before that point. The chorus sounds like it belongs to another song. Not a Kaiser Chief's song, just another song that hasn't been written yet!
There is definitely a punk thump to 'Half the Truth'. The problem is we only get half the bands potential. It simply doesn't deliver the riveting bombast of the previous tracks. The insult doubles when Swa DaSafo delivers one half of the verse.
You can actually hear Ms Allen on this one. 'Always Happens Like That' acts as the lilting warm down that will seem to govern the remaining tracks on the album. Nothing much can be said about a track that gets to the chorus so fast that the verse barely gets a look in.
ANTHEM AHOY
'Addicted To Drugs' relinquishes the tasteful use of delay that U2 managed to lose somewhere behind a recording desk back in the 80's. We also get a cowbell on this one, what fun! This could have been an epic had it not been for the obvious parody of Robert Palmer's classic, 'Addicted To Love'.
They let the drummer sing 'Remember You're A Girl', and it's not that bad for a rainy day 70's micro-hit. There also seems to be a sense of false interest in the delivery of the vocals that puts me off. I do hope they are not dipping back into the past for sheer novelty alone?
The production is solid, and though industry professionals have long since dispensed with the dynamic resonances of the past, the outcome is a well rounded, fresh and not-too-dangerous piece of work.
Posted In Album Reviews, Oct 24 2008.
Words - Phillip