Kasabian – West Ryder Pauper Lunatic Asylum

The third time’s the charm, right? Well, maybe not for Kasabian. Named after Charles Manson’s getaway driver, the eclectic quartet from Leicester, UK declared this album will define them as a band. I certainly hope not.

West Ryder Pauper Lunatic Asylum is Kasabian’s third album, following 2005’s Empire. Their dark experimental sound borders on Brit-grunge noise rock relocated to a ’60s-themed Arabian nightclub. Even so, the band briefly dabbles in other styles and demonstrates they may not be up to the task of venturing outside their comfort zone. Kasabian’s latest effort sounds more akin to the Arctic Monkeys or a more lethargic Jet, rather than their previous electronica-dominated albums which bear more of a resemblance to veterans Primal Scream.

Kasabian relies heavily on distorted bass lines that anchor their sound. The guitar, in tune enough for punk rock, often plays a supporting role but is more prominent on this record than in the past. The drums are tight and closely mimic an electronic kit, while synths fill in the gaps left by the lack of real instruments. The mix of songs is interesting, with some more at home on a dance floor, while others more comfortable in a rock arena.

“Underdog” kicks off the album much like the electronica inspired hit single “Club Foot” on Empire minus the addicting bass hook. Track two, “Where Did All the Love Go,” directs the album toward an Arctic Monkeys style. The band ventures into new territories experimenting with disco, electronic songs sans vocals and Beatle-esque textures. Some tunes even carry an Arabian mystique paired with a mischievous country swagger as on “Thick as Thieves,” but the track comes off as a half-hearted attempt to craft something stylistically innovative, like much of the rest.

Although the album offers an occasional clever line, the listener can bypass most lyrics and focus on the music, even though sonically, the album falls short in many places. “Fire,” the new single, is disjointed as the verse and chorus fail to complement each other and don’t transition well – although, the chorus is catchy as hell. “Fast Fuse” seems patterned after “Fire,” but unlike most tracks, “Fast Fuse” succeeds in maintaining continuity and incorporates personality and catchy instrumental hooks, things needed by much of the album.

Although an improvement on past records, West Ryder Pauper Lunatic Asylum, doesn’t offer much in the way of ground-breaking music and fails to deliver on many levels. Fans may be pleased with the band’s deviation from an electronic-heavy sound, but the “more rock” approach on the album is nothing spectacular. Most importantly, the random use of different styles creates a disjointed album that comes off as amateur and hap hazardous. Perhaps once Kasabian finds better footing, they’ll be able to take a step in the right direction – if people are willing to wait until then.

Tagged as: Brit Rock, Electronica, UK

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