Album Review: 48:13 | Kasabian
48 minutes and 13 seconds of dance and diversity has been presented in the Leicester foursomeâs fifth album, an album that speaks for itself mainly through its music, largely emphasised by the records minimalist artwork. However, both the artwork and music brings one thing to mind; the sheer power of Kasabianâs most recent instalment.
Instantly you are transported into the bandâs experimental phase of music with the synth-y intro of â(shiva)â. This synth aspect carries on throughout the whole album, even featuring in their most ârockâ song, bumblebeee (yes, it has three eâs). The 1:07 track provides you with the knowledge that this album is unlike any of their others. It is not simply a compilation of music thrown together into any ramshackle order. This is a piece of post-recorded production genius. Hands together for Sergio Pizzorno as producer, as well as guitars, bass, vocals, synthesisers, piano and drum programming. He may be big headed (very), but you gotta give it to him, heâs a talented guy.
The blend of Kasabianâs signature heavy, distorted bass lines and electro-pop riffs comes together in the 6:53 marathon of a song, âtreatâ. The first half is dominated by afore mentioned bass as well as a likewise sounding guitar, followed by a very synth heavy second half. If any criticism can be drawn of this album, then it is here. It seems as if the band had plucked the numbers 48:13 out of thin air and, once all the songs had been written, needed a way to fill time in order to hit the time target, thus creating the drawn out, Wurlitzer filled ending to a song that had been perfectly good within its first three and a half minutes. From a band that usually tries to push the limits, they may have gone one step too far from this 6:53 song.
Kasabain, being up to their usual tricks, have provided us with three âanthemsâ from this album; âbumblebeeeâ, âstevieâ and, the albumâs lead single, âeez-ehâ. It wasnât long after the albumâs release that FIFA quickly snapped up âstevieâ to be part of itâs FIFA 15 soundtrack, just as it has done in the past with the likes of âClub Footâ and âL.S.Fâ, both from their debut album âKasabianâ. (turns out Serge isnât too bad at the âbeautiful gameâ himself https://www.youtube.com/watch?v=y0_7_CxBq-Y )
But while these early Kasabian greats are seen as indie-rock music being pushed to its synthetic limits, can the same be said about the likes of âeez-ehâ? However, you canât knock it when you look at it purely as a song. It is the perfect dance song. Itâs simple. Itâs direct. Itâs a stripped down beauty. Itâs everything that Tom and Serge wanted this album to be. As Serge states, "I felt that we had the confidence to be more direct, more honest with this album. I started to strip away layers rather than to just keep adding." He is also strongly backed up by Tom, who claims that "Less is more, you know? It's direct. It is what it is. Just listen to it. We've had the confidence to lay ourselves bare. Serge has stripped it right back. It's unbelievable."
A prime example of this stripped back nature is the 13th and final song of the album, âs.p.s.â An early Kasabian shines through in this track, a reminiscence of the bandâs previous acoustic songs, possibly being viewed as a more stripped down version of âLadies And Gentlemen, Roll The Diceâ, from their third album âWest Ryder Pauper Lunatic Asylumâ (quite a mouthful). Both songs heavily feature the acoustic guitar, accompanied with the peaceful undertone of a gentle synth.
Being the final song of the album, âs.p.s.â is a tip of the hat to the old Kasabain, as they enter a new chapter of music style. This is a goodbye kiss to indie-rock and a welcome to indie-electronica. A fitting way to end an album that marks a musical turning point in, arguably, the best current British band.
Gabriel Nwosu-Hope