Critic's Review
David Jeffries, All Music Guide
Practicing truth in advertising, U.K. rockers Kasabian move away from the revolutionary sleeve art that graced their debut and onto something more ornate for the elaborate follow-up album, Empire. Attacking the sophomore jinx head-on, Empire tries hard to be urgent, epic, and important and the grand mish-mash of Chemical Brothers, Primal Scream, Beatles, and Stones influences is delivered with all the conviction and swagger one desires from the scruffy crew with the Oasis-sized ego. Adding to this jumble are Sweet, Slade, and Ian Brown who are all equally responsible for the opening title cut. Glammed-up rebel music, "Empire" the song is a satisfying, busy rocker that then gives way to the interesting rave-up "Shoot the Runner" which would be very T. Rex if it wasn't for the song's Euro-disco, Giorgio Moroder-styled bridge. From here till the album's final stretch, twists, turns, and time changes are in abundance and imagination runs wild as Brit-pop smokes a hookah and sits on a multi-colored toadstool. Lost in all this is the instantly grabbing songwriting of their debut, and to some extent, Kasabian themselves who often seem to riding this swirl instead of guiding it. They regain control right about "By My Side", a memorable, lush tune that suggests what it would sound like if James Bond film themes had proper B-sides. The winding "Stuntman" is ambitious as anything else here but the pieces all fall into place for a change, and by the time the perfect, slowly-developing closer "The Doberman" rolls around this unapproachable effort has sort of explained itself and even seduced a little. Repeat listens help put things in place and familiarity with the band helps a lot, so go to their much more focused debut for the real punch then come here when you want something bigger but not necessarily better. [Empire was also released in a limited edition with the bonus track, a live recording of "Stuntman".]
