Kaiser Chiefs - TheFuture Is Medieval

Thu 7th Jul, 2011 in Music Reviews

Leeds lads the Kaiser Chiefs return with their fourth studio album The Future Is Medieval. With an excess of songs recorded this time around, the band adopted a novel approach, enabling consumers to determine which tracks feature on their copy of the record. However after their letting punters select their own tracklisting for the record and create their own Kaiser’s albums comes the physical release of the record.

The record emerges in stark contrast to the band’s past work in a variety of ways. The Future Is Medieval fails to achieve the infectious accessibility of its predecessors as there’s nothing quite like the rousing straight-forward pop of Ruby, nor anything akin to their impassioned I Predict A Riot nor even the methodical rocker Never Miss A Beat. The Kaiser Chiefs more than make up for the lack of instant gratification however, the band found in delightfully entertaining form. This is best attributed to record’s manic disposition, the ‘Chiefs expression adopting several styles and flavours from track to track. Meanwhile, The Future Is Medieval manages to consistently recall the band’s identifiable hallmarks irrespective of whatever method taken, which is surely a feat in itself.

Lead single Little Shocks was wheeled out as the first impression of the Kaiser Chiefs latest endeavours. Fans and even those thinly-acquainted with the band’s catalogue are immediately challenged to reconcile the absence of an explosive hook. For an album’s flagship song, there’s nothing hugely remarkable about Little Shocks at first listen. Despite falling short of potency, however, the song does linger remarkably well. In this way, Little Shocks actually becomes indicative of the record as a whole.

Its follow-up, Things Change, boasts a kooky swagger, its groove delivered beautifully whilst remaining one constant in a changing landscape. The low, lumbering Out Of Focus yields another highlight, the band employing a hypnotic and thoroughly enticing spin on Ricky Wilson’s lament. The album then springs to life once more, the frenzied Dead Or In Serious Trouble presenting a rollicking, jungle-stampede explosion in one of the record’s more electric cuts. When All Is Quiet sees the band try their hand at something lighter, the song’s chorus smacking of Beatles-inspired pop. It’s all in the falsetto harmonies and their Getting Better guitar stabs, each combining to create a deliciously saccharine interlude.

Lyrically, The Future Is Medieval occasionally proves confounding. At times it’s difficult to extract any clear meaning from Wilson’s sentiments. Man on Mars in particular appears clouded at best. “Put a man on Mars today. It wasn’t the first time; I’ve seen it all before, ” the front man sings, before eventually driving the song to its seemingly irrelevant chorus.

Concerning The Future Is Medieval as a whole, persistence is key. It’s not a record adorned with a go-to single, but that’s not to suggest an influx of forgettable album tracks either. Much of this track listing showcases solid additions to the band’s canon, with some even boasting real staying power. Naturally, a degree of research might be necessary to avoid a hit-and-miss article, but, ultimately, that’s the beauty of the Kaiser Chiefs initiative: listeners can take what they wish from a project defined by a leap of faith. All in all, this is exactly the kind of varied, intriguing album the Kaiser Chiefs needed following the passable Off With Their Heads, their ambition ensuring an entertaining result.