Remember Employment? That was a pretty good album. Singles such as ‘I Predict a Riot’, ‘Everyday I Love You Less and Less’ and ‘Oh My God’ were (and still are) great, energetic, catchy songs. They were so infectious that it was hard to hate them even if you tried to.
The Kaiser Chiefs’ sixth album, We Stay Together, is almost certainly not going to be remembered in the same way. To get straight to the point, there’s absolutely nothing on the album that comes anywhere close to the quality of those three songs I mentioned. And it’s not because the band have done a genre u-turn – jumping abruptly from Indie Rock to straight up Pop – it’s just that the songs featured are clichéd and bland. Bland, bland, bland.
Let’s start with the album’s two singles, ‘Parachute’ and ‘Hole in My Soul’. I think I can safely say that these are the worst two songs on the album – at least lyrically. The chorus for ‘Parachute’ is perhaps the most horribly cringey and soppy thing I’ve ever heard: ‘If we’ve only got one parachute / You know, I’d give it to you’. The opening lyrics to ‘Hole in My Soul’ are similarly underwhelming and bland: ‘Strike up the band / Give yourselves a great big hand’. I know Kaiser Chiefs have never been lyrical geniuses, but there used to be a certain level of cleverness to their words. These lyrics are so clichéd it hurts. I know I ragged on Bastille for using clichés, but they still managed to pull together some good songs with some good instrumentations. Kaiser Chiefs don’t really do that.
It’s really impossible to view this album as anything else other than the band selling out. I know, I’m not overly fond of that term either, but it’s true. It doesn’t feel like they’re making the music they want to make – Ricky sounds incredibly bored on some of the tracks – but instead what they think is going to sell. As bad as they are, the two songs I mentioned do have the makings of mindless number one pop singles. I hated myself a little bit for getting ‘Parachute’ stuck in my head – but that’s the sort of song it is.
Another issue with this album – too many synths. There’s nothing wrong with synths, of course, but I dunno… They just aren’t used interestingly at all, and seem to smother all other instruments in the songs. It seems like every band evolves in a synth based direction these days, but some just manage it better than others. For example, with artists like Tame Impala and Wild Beasts it felt like a natural evolution of their sounds, building on their previous work… It doesn’t really feel like that here. By replacing all their instruments with synths, simplifying their lyrics and abruptly swapping genres all at the same time it feels like Kaiser Chiefs have lost everything that once made them a band worth listening to.
I suppose this is the part where I mention the album’s good (?) – or less bad – aspects. Like I said, it’s catchy in places, which can be seen as the album achieving its goal, and some of the songs aren’t completely awful. ‘Press Rewind’, ignoring its horrible opening (in which we’re repeatedly told that the band makes pop music now), is quite a bit of fun – and Ricky even seems to be enjoying himself. The opener, ‘We Stay Together’, also grew on me the more I listened to it. It hasn’t got much going for it other than a nice groove, but sometimes that’s all you need.
I could talk for a lot longer about the things I dislike about this album – like the incredible nothingness that is ‘Indoor Firework’ or the unbelievably cringey chorus on ‘Why Do You Do It To Me?’ – but there’s not really much point. This album isn’t worth your time. If you want to listen to Kaiser Chiefs, listen to their old stuff. If you want to listen to pop music there’s much better stuff out there. If you want to listen to soppy music there are many better songs available than the ones on this album. There’s no reason to listen to Stay Together, and I feel kinda bad for saying that because I’m sure some people worked hard on it. But really, don’t bother with this album.
Essential (or least bad) Songs: ‘We Stay Together’, ‘Press Rewind’, ‘Still Waiting’.