Kasabian back in Aberdeen with bag of new songs

Kasabian’s Serge Pizzorno gave himself six weeks to write an album and produced a fifth successive chart-topper.

Following the experimental 48:13, Pizzorno – the band’s main songwriter – went back to basics with For Crying Out Loud.

There were two fundamentals to the creation of the record – a set time frame and the restriction of only guitar and piano.

For Pizzorno the philosophy was an homage to the Motown model so successful under Berry Gordy Jr where it was all about the melody and emotion in the 1960s Detroit-based hit factory.

Kasabian will promote the new album with a headline show at Aberdeen Exhibition and Conference Centre on Sunday.

The guitarist said: “Our previous album 48:13 was very experi-mental and I didn’t want to do that again.

“I gave myself six weeks and decided I could only use a guitar and piano during that time.

“It was weird, because I’ve got a nice collection of old musical gear – but I wasn’t allowed to use any of that.

“Some of it took place in a big studio but the whole album was all done on instinct, really quickly – and it felt right to make this kind of record.”

Following the experimental mash-up of space rock, new psychedelia and hip hop influenced on 2014’s previous album 48:13 (the running time of the album) Pizzorno returned to his roots for the follow up.

“I wanted to try to write a great guitar album,” he said.

“I also wanted to make a really uplifting album as I figured that’s a really hard thing to do.

“There’s also melancholy and drama just writing with a guitar, you really pour your heart out.

“I was interested in Berry Gordy’s approach at Motown.

“That 1970s period where guitar music produced really great songs with strong melodies`.

“In those songs there is also this amazing disco-funk thing going on.

“During the six week period I wrote the 10 songs that were used. I actually wrote more than that but some didn’t work – and I decided I wouldn’t have anything on the new album that didn’t fit.”

During that frantic period of writing Pizzorno stuck to a regimented writing regime.

Only after that six weeks when the songs had been written did he inform his bandmates that he had not only been working on the follow up to 48:13 but it was finished.

While writing the album Pizzorno’s football team Leicester City were moving towards a shock Premiership title win.

Still based in Leicester he admits the euphoria of that time, with the Foxes 5,000-1 to lift the title, inevitably seeped into the writing process.

He said: “The album happened in the months leading up to that last game.

“To be in Leicester at that time was unbelievable, it was such a made time.

“As the record was done in such a concentrated period, during that time in Leicester, what happened with the football did go into the feeling of the album, without a doubt.

“It is an uplifting record. There is a song called Comeback Kid on the album so if there is going to be one song about Leicester City – it would be that.”

Kasabian joined an exclusive club when For Crying Out Loud became their fifth consecutive chart topping album.

It knocked Ed Sheerin off top spot to join artists such as The Beatles, ABBA and Oasis in registering five number ones.

The 36-year-old said: “Five number ones in a row is nice as not many that have done that. We are up with ABBA.”

Although formed in 1997 it would take seven years until Kasabian’s eponymous debut emerged, spawning hit singles like Club Foot and Processed Beats. They were unfairly lumped in with “lad rock” a label that did not accept the scope or ambition of their music.

He said: “Twenty years is a long time. What keeps me going, is I’m obsessed with tunes and you can see it in the eye of other people with the same addiction.

“Even though you’ve got a bag of new songs that are okay – you always want one more.

“The ‘lad rock’ thing was always funny, especially after the first album.

“What is quite good is that you’re underestimated and that helps. It makes your surprising moves more powerful. If people really aren’t expecting you to have any depth, when you do something people are like, ‘Oh, I didn’t know they were capable of that’.”