mvm.

As they dive from mental asylum patients to now-certified alchemists, they attempt to purify the bad stigma with a resolute album with poignant moments – but becomes lost in itself at times. 

Branded with an iron-fire of alternative reputation, KASABIAN were seemingly unstoppable. Still reeling from a highly successful tour in 2017 from For Crying Out Loud, they soon stamp-marked themselves in the Les-tah scenes as the ones to chase down. 

But when news came of frontman Tom physically abusing his wife, the band saw no positive future endorsing such actions and so decided to depart ways with the singer after 18 years from their first self-titled debut in 2004. Leaving the only trace of his involvement among past album recordings, some of their most compelling song-writing was archived – or tainted – for the band.

Despite the backlash received by their fans for taking the stance of it being “not the same without Tom,” Serge and company decided to go against the grain and do they felt was right and carry on, seemingly not ready to give up on discussed projects and exciting new music. 

Will The Alchemist’s Euphoria live up to the questions posed? Sadly not, I’m afraid. 

While SCRIPTVRE, ALYGATYR and CHEMICALS are good rebuttals to the hesitant fans bringing that Kasabian klassic sound back, but they don’t pack any such movement promised as those belchy pub choruses, originally led by Tom, are sorely missed. 

Ladled with a more subtle psych-folk flex of the Acid Turkish Bath in ‘11 as opposed to the Acid House in ‘17, it’s still an enjoyable album to listen too however. STRICTLY OLD SKOOL and THE WALL offer nothing coherently new to the movement, but are nice offerings as segways between the hard-hitters that follow shortly after. The harmonic T.U.E (the ultra view effect) is heard throughout on Radiohead‘s In Rainbows and STARGAZR doesn’t remotely draw up anything out of this world despite what the title suggests. 

But that’s exactly where this “magnificent seven” falls short. Nothing new offered in the grandiose of the band’s 18-year reign and seven studio albums under their belt, that’s for sure. Instead, it’s very blasé, very attentive – almost as if this album just covers that stale 5-year gap from the last one released. 

Rather, the lines have muddied between his side hustle, THE S.L.P and the frontal force of KASABIAN. Nothing warrants a turn-off but aside from the obvious attitude of SCRIPTVRE, nothing else really warrants a turn-UP either. Sorry Serge, Chris and co, I’m not really taken aback with this one. 

What are your thoughts?