Kasabian @ Studio 104 – Canal Plus – 26/05/2009

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In 1995, Oasis did not mean only “fruit, spring water, fun.” Oasis has been my gateway to rock, I am indebted to them, thank you, goodbye. It was a golden age for England, a time when the press was creating music from scratch antagonism to sell paper, a time when “live forever” meant something. Oasis was my adolescence. But as each stage of learning, it is not looking in the mirror in the future. That’s why I feel that listening to Oasis in 2009, is a bit like eating mashed-sausage to any meal: a regressive act.

That is why before meeting Sergio Pizzorno, I quickly disinterested of Kasabian. Oh yes there was this parade of Marc by Marc Jacobs in 2004 where the soundtrack completely obsessed me. I did not know Kasabian at that time so I watch the parade loop with my Japanese roommate (yes I have the DVD at home) like a bear with a final match of the UEFA Cup. It was the words typed in a Google search box “All these pills got to operate / The color quits and all invade us” and the result is dropped: “Club Foot” Kasabian. Then I heard them live at the Brixton Academy, too offensive for my taste. I documented and how the press had to describe them as children of the late Brit Pop (a real “do not” in my eyes when we spent twenty years apart to Pulp because the videos are really incredible) and this scared me.

Then I received “West Ryder Pauper Lunatic Asylum”, their third album under enigmatic and licked the cover. I always wanted to love the groups that used a Soviet typography. Contact with Sergio, all my reservations about Kasabian have collapsed. The preconceived idea of rascal poorly educated and abets the lager has soared. First, Sergio is a teacher. Because I discovered Kasabian by Marc Jacobs, he explains the group with my words. Kasabian is a mix of Burberry – traditional – and Alexander McQueen – a visionary and bold. This ambivalence also found in this new album. “Underdog” is the tube power, effective, which smells good industrial England and feisty like “Club Foot” from their debut. “Where did all the love go”, despite the candor with which words I do not balance unstoppable pace and especially includes a recovery in the second third. And again, I really very much. A guy like Phil Spector would have produced an end pretentious and unnecessary to talk about choirs that overlap on “Fire” but I think it is not too available to speak at this time. Me, I want to call it a gun and I still have eyes full of admiration. Oh, I know it’s finished mixing but it makes me dream. I was really bad when I was little in canon. This must come from my lack of synchronization. Okay, and then there are songs that I like less because they remind me of the painful memories which Richard Ashcroft is the protagonist.

It was with this kind of meeting we realize that entering a new dimension: that of professionals in the interview. Sergio instinctively understands my questions, responding with accurate and quick to develop. This is called taking power intelligently. Until now, when groups had attempted to seize power, it was quite arrogant and it was completed in insults. On the contrary, in a few words, Sergio opens in a very concrete way the universe. It begins with his childhood in Leicester, a city quite dull in terms of cultural awakening. His parents teach him working early the value of work and through this education, it bears a very healthy on his current situation: it can not be encumbered by the negative aspects of his fame and realize the opportunity that the group ad’avoir so successful. Leicester is one of the few English cities which had no “scene” as London, Manchester or Sheffield. Sergio and believes it really helped him develop his own universe without trace his apprenticeship on a pre-existing model. There is no dress code to follow in Leicester, to which no tribe join. Everyone has to be invented and what is the five thieves from Kasabian. Their goal, already young was simple: to grow together, hang out with the same girls, playing football together, find a way to spend their lives together without having to seek a “real” job. Pari réussi.

Even if, fifteen years after the golden age of Brit Pop, the music press has the power to create urban legends about the musicians, she still had that distract me from a group design because it has not induced me liked not quite arbitrary. An acoustic concert in a hotel room later, I only have one certainty: Kasabian, in fact, really good.

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