The short version
- Serge Pizzorno has adopted a disciplined, distraction-free routine for recording Kasabian's ninth album, Act III, marking a departure from his earlier chaotic creative habits.
- The new record emphasizes strong melodies and audience participation, with tracks designed to encourage sing-alongs and featuring musical contrasts inspired by 1960s pop structures.
- Pizzorno uses the album's lyrics to critique tech oligarchs and algorithmic control, aiming to subtly encourage listeners to disconnect from screens rather than issuing direct commands.
Serge Pizzorno, the frontman of Kasabian, has opened his home recording studio in rural Leicestershire to preview the band's upcoming ninth album, Act III. Located amidst farmland and fish ponds, the facility represents a significant shift in the musician's approach to creativity. Pizzorno describes a daily routine that prioritizes focus and efficiency, banning snacks and mobile phones during four-to-five-hour work sessions. This structured environment stands in stark contrast to his earlier years, which he characterizes as living a 'French poet life' involving sleepless nights and pushing physical limits for inspiration.
The studio itself is an austere black cube situated in a walled garden, guarded by a large gorilla sculpture. Inside, the space is filled with vintage synthesizers and guitars, many of which feature on the new record. Pizzorno notes that while he previously relied on endurance to fuel his artistry, he now finds value in discipline. He mentions screening films, typically those by David Lynch, in the background while working, but insists on maintaining a fast pace without distractions. This methodical approach has been consistent across the band's last three albums.
Act III is set for release shortly after this preview, and Pizzorno highlights a deliberate focus on melody and hooks. He expresses a personal yearning for songs where verses are as powerful as choruses, drawing comparisons to Elton John's emotive style. The album includes tracks like Soulmate, a tribute to his wife Amy featuring prominent guitar riffs, and Say You (Closer), which utilizes three-part harmonies. Pizzorno acknowledges that the latter track bears a resemblance to the sound of The Eagles, a comparison that has caused some anxiety regarding live performance replication.
To address the challenge of performing complex harmonies on stage, Pizzorno plans to involve the audience in singing certain parts. Audience participation has become a central element of Kasabian's live shows, and he views this strategy as a practical solution to maintaining the album's intended atmosphere. He jokes about the potential for rehearsal sessions to sound either polished or chaotic, but emphasizes that the goal is to create memorable, singable moments for fans. This focus on 'Tunes You Can Sing' is a conscious reaction to what he perceives as a lack of melody in contemporary music.
Musical structure also plays a key role in the album's design. Pizzorno cites 1960s songs like Good Vibrations and Baron Saturday as influences, particularly their use of abrupt transitions or 'handbrake turns' within tracks. He aims to create moments that initially seem strange but become exciting upon repeated listening. The single Hippie Sunshine exemplifies this approach, featuring a chanted chorus interrupted by a twinkling piano breakdown. These contrasts are not merely stylistic choices but serve a deeper thematic purpose related to the album's lyrical content.
The lyrics of Act III include a critique of technology and its impact on society. Pizzorno describes verses that target soulless tech oligarchs whose algorithms dictate daily life, expressing frustration with leaders who are 'running on empty.' The bridge of Hippie Sunshine serves as a moment of sober awakening, where the subject realizes their own complicity or danger. Pizzorno suggests that people often find themselves at the mercy of individuals whose intentions are unclear, playing with culture without clear direction or end goals.
Rather than issuing direct commands to disconnect from devices, Pizzorno aims to subtly educate listeners about the benefits of stepping away from screens. He argues that shouting at people to put down their phones is ineffective, but creating music that encourages reflection can lead to positive behavioral changes. He shares a personal anecdote about how moments of solitude and thought helped him navigate difficult periods in his career. By fostering an environment where listeners might choose to sit with their thoughts instead of reaching for a device, he hopes to promote mental clarity.
Pizzorno also addresses the growing use of artificial intelligence in music creation. He expresses strong reservations about allowing algorithms to write songs, viewing it as a removal of the personal element he values in his work. For him, the struggle and process of songwriting are integral to the final product. As Kasabian prepares for the release of Act III, Pizzorno remains committed to this hands-on approach, balancing technical precision with emotional resonance. The album reflects both a matured artistic discipline and a continued engagement with the cultural forces shaping modern life.
Sources behind this briefing
Go to the original reporting
- BBC News↗In the studio with Kasabian: 'We never thought we'd see success again'
