‘ACT III’ firmly establishes Kasabian 2.0’s sound in new LP
Melodic synth-rock alien fuel — with streaks of disco, EDM, funk, rap and soul thrown in too. Who cares if it’s slightly self-indulgent?
★★★☆☆
Photo: Neil Bedford
Say what you want about Kasabian, but you can’t say they never leave their comfort zone. No two albums sound the same, and, given that this month marks eighteen years since their self-titled debut dropped, that’s not a bad habit. That’s not to say they don’t have a definitive style: you can still hear it here on ACT III — named as such because it’s their third album since the milestone departure of former frontman Tom Meighan — across ten new trippily titled tracks and three instrumentals.
The last six years have been a regenerative exercise, seeing the band return to the drawing board more than once to delve deeper into previously uncharted territory. Both UK number one albums, 2022’s The Alchemist’s Euphoria produced a more conceptual sound with electronic, industrial and rave textures, while 2024’s Happenings was an artsy but dancier release that saw the group successfully overcome their huge line-up change hurdle. The latest offering links heavily to both previous “acts”, continuing to replace the Meighan-era heavier guitars with psych-driven futuristic rock that ventures as far and wide as disco and rap.
Up first, SOULMATE’s relaxed guitar and drums give off an unusually sombre rhythmic tone, despite affectionate lyrics. Verses see frontman Serge Pizzorno (now having firmly established his reign) take a half-spoken-word, half-rap approach, which never feels entirely comfortable. With a synth-up, weaving solo and main hook repetition, it retains a distinct Kasabian sound that grows on you, save for those mildly cringy, rap-adjacent verses.
Seamlessly transitioning into lead single Hippie Sunshine, we hear more up-tempo guitar riffs amid watery synths. Accompanying vocals are spat through a distorted megaphone effect, and backing crowd chants of “LSD”, “DMT” and “lucky me” feel appropriate, in line with their classic, lad-rock sound. It’s kind of catchy, but takes a weird turn.
Pizzorno revealed, “I was yearning for hooks and verses that are as powerful as choruses… I love those ‘60s songs… where the middle is just a handbrake turn, and you go ‘Where the hell am I now?’”. Well, Hippie Sunshine does just that. Midway through, you’re left wondering whether Spotify has gone rogue, skipped a few songs and flung you into the middle of an Elton John epic. After some loud chiming piano and a deliberate nod to the hit-making maestro’s singing style, the main rhythm returns until both worlds collide and merge in a bold yet reflective close.
Now for the other lead singles. The infectious SUPERPOWERS is less familiar than any ground previously covered: think smooth G-funk beats and hip-hop groove, met with a Middle Eastern undercurrent. It feels like some kind of experiment that Dr. Dre and Eminem would have played with in the early ‘00s, and the slick production and big leading rhythms seem evocative of Gorillaz. Some dodgy half-rap comes out to play again; it’s still not perfect, but a cocky attitude shines through in Pizzorno’s vocals, helping to stamp the track with their native twist.
A bittersweet reminder of the summer just gone, GREAT PRETENDER is an uplifting indie track (a label Pizzorno has always professed to hate), but one that doesn’t do the record any favours on first impression, giving no hint as to just how far the album’s influences stretch. It feels odd to say that there are even sunny elements resembling Circa Waves and Catfish and the Bottlemen, bands that came in their wake, and the main hook has a vague similarity to The Vaccines’ If You Wanna, though less memorable.
Thankfully, NOTHING BETTER THAN THIS is all high-energy, synth-led electric crunch. Vocals are impactful and ominous, with a dash of reverb and, although lyrics disappoint, it’s redeemed with an ‘80s darkwave-pop and ‘90s techno flirtation.
Often, mid-album interludes could be cut entirely, but ACT III masters frequent sharp genre bends and mood changes, so it benefits from palate cleansers. Ambient future rock is evident in SILVER APPLE EYES, though you can’t help but remember that time Daft Punk and Nile Rodgers collaborated. Instantly infectious, it’s a relaxed, space-funk club tune with watery distortion and acoustic, grooving melody.
With room for more genre-hopping, THE GURU AND THE CRYPTO TIME MACHINE’s sinister sparkle and hallucinogenic, Lennon-esque vocal turns full Rage Against The Machine in places, targeting cryptocurrency influencers and corrupt financial schemes.
After one final interlude of anxious synth, GLIDE is acoustic melancholy, with soft fade-in drums, symphonic strings and smooth bass adding emotional intensity. With added melodic pre-chorus left turns, HYPER//RISING could be Wolfmother’s Joker and the Thief reincarnated, with repetitive guitar-crunching and dramatic vocals.
Wrapping up with SAY YOU (CLOSER) on a soulful, hazy plane, the Americana-style guitar and subdued piano set a candle-lit, R&B-meets-gospel scene. Euphoric and inspiring: “It’s gonna get brighter, you always been a fighter”, it’s perhaps the most memorable track.
While not always sure exactly what it wants to be, ACT III definitely has something for everyone, owing to that good-value charm Kasabian have always possessed. Boasting flashes of electropop, disco, rap, funk, hip-hop, psych pop, darkwave, indie and good old-fashioned guitar rock, you really can’t complain too much. It’s not perfect, but Pizzorno and co. seem to be lighter and having fun again. Kasabian 2.0 (for the most part) are still making interesting records, and this one is the strongest of their new era.
ACT III is out now via Sony Music.