The Alchemist's Euphoria Kasabian

• 1ALCHEMIST02:39
• 2SCRIPTVRE03:49
• 3ROCKET FUEL03:02
• 4STRICTLY OLD SKOOL03:07
• 5ALYGATYR03:23
• 6æ space00:48
• 7THE WALL03:29
• 8T.U.E (the ultraview effect)05:45
• 9STARGAZR04:56
• 10CHEMICALS03:31
• 11æ sea00:33
• 12LETTING GO03:03
• Total Runtime38:05

Info for The Alchemist's Euphoria

Kasabian make a most welcome return with a high-octane new album fuelled by their trademark swagger. Produced by Serge Pizzorno and Fraser T Smith, mixed by Spike Stent and written by Serge, ‘Scripture’ is one of the many standout tracks on their eagerly anticipated new album ‘The Alchemist’s Euphoria’ unveiled August 5th on Columbia Records.

Serge says: ‘Scripture is about rewriting the story you tell yourself. Editing your own script’. Of the new album, Kasabian’s seventh, he adds: “One thing about this record I feel over the other ones, is it definitely feels like a body of work that belongs together. It was a beautiful moment in mastering hearing it as a piece. I think it really holds up in our seven albums….The Magnificent Seven”.

“It’s definitely music to make you feel like anything’s possible,” Serge says of The Alchemist’s Euphoria. “And it feels really exciting because, like always, this band can go absolutely anywhere.”

Kasabian:
Serge Pizzorno, vocals, bass
Chris Edwards, drums
Ian Matthews, guitar
Tim Carter, guitar

Kasabian
took the British press by storm in the early 2000s by mixing traces of the Stone Roses, Happy Mondays, and Primal Scream with Oasis-sized confidence and DJ Shadow-influenced electronics. Named after Linda Kasabian, Charles Manson's getaway driver turned state witness, the Leicester-based group also stole a page from the Band by moving into a remote farmhouse to brew its music. Communal life and a slew of shared influences produced an electronic, rock-oriented sound that harked back to the Madchester days of baggy pants and druggy dancing. Kasabian expanded that sound on later albums, but the band's foundation remained rooted in swaggering, fragmented dance textures and boisterous rock & roll.

With his acerbic approach to interviews, swaggering lead singer Tom Meighan quickly became a darling of the press during the band's infancy, and Kasabian's revolutionary logos and sleeve art only added to the excitement. Foldout poster sleeves, 10" versions, and hand-stenciled covers accompanied singles like "Club Foot," "L.S.F," and "Processed Beats." The hype paid off as Kasabian's self-titled debut cracked the Top Five in October 2004, just one month after its U.K. release. Four singles landed in the Top 20 within six months, establishing the bandmates as rock & roll royalty in the process.

Founding guitarist Chris Karloff left the lineup two years later, citing creative differences with the remaining members. Kasabian's second album, Empire, had already been recorded, and guitarist Jay Mehler was brought aboard to replace Karloff during live performances. (Mehler eventually became an official member in 2008.) Empire was ultimately released in August 2006 and debuted atop the U.K. charts, with the title track soon becoming the band's third Top Ten hit. The band took home an NME Award in 2007 and began work on another album later that year. Dan the Automator was brought in to share production duties with Sergio Pizzorno, and the resulting U.K. chart-topper West Ryder Pauper Lunatic Asylum appeared in 2009. Automator would return for the 2011 album Velociraptor!, featuring the leadoff single "Switchblade Smiles." In 2013, Mehler left the group and joined former Oasis frontman Liam Gallagher in his group Beady Eye, but the band carried on as a four-piece and recorded a new album with Pizzorno in the producer's chair. Named after the album's total running time, 48:13 arrived in 2014, featuring the lead single "Eez-eh."

This album contains no booklet.