2023-11-20 10:12:22
The reckoning – with yourself, or rather with old colleagues? Whatever the case: three years following being kicked out, Tom Meighan makes his solo debut The Reckoning In any case, it is actually the most solid Kasabianalbum for a long time.
What, given the very mediocre quality of the records from Meighan’s regular band since then Velociraptor! is of course to be understood as absolutely relative. But Meighan can currently actually do radio-friendly Brit alternative rock better than Sergio Pizzorno, as compared to him Kasabian by no means wanting to withdraw The Reckoning likes to show off psychedelic-tinged, fork-swinging danceability, immediate catchiness and here and there a flashy attitude, which the Gallaghers (primarily Liam) will certainly appreciate.
Everything has its place, the riffs and grooves are solid, songs like the energetic one Acrobat or the euphoric pounding Don‘t Give In have immediate entertainment value – and potentially good poaching arguments for loyal ones Kasabian-Trailer.
Hopefully they will be able to get over the fact that the depth remains manageable and tends to be trivialized “Excited“s and “Get worse“s emerge as actual killer hooks, the kind of flashes of genius that would turn effective but quickly forgotten catchy tunes into real class hits with reverberating memorability. Or that the balance of verse and chorus in some songs seems a bit forced, some choruses are repeated too often anyway, and a latent oversaturation threatens to set in during consumption, while there is fundamentally little to discover outside of the obvious agenda.
Especially when sprinkled selectively into party playlists, this is generally okay supplementary material to the real euphoria bombs. Without a real failure, the bandwidth in the spectrum is so different Hard-Fi‘esken Club-Party Thinking on Our Feet to the pathetic string ballad Scaredfrom the massive rumbling Movin‘ On up to the skillful balancing act (between Muse-Stadium-Autobahn and reserved rest stops). Shout It Out or the obligatory intimate closing title track with its somewhat sad sentimentality is simply played out with a lot of competence, even if you have to be in the mood for such striking functional music that develops little appeal apart from the brutality. (A scenario in which you can easily think of adding a point to the following rating in terms of evaluation. The next Meighan record is definitely awaited with much more excitement at this point than a new one Kasabian-Material!).
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