Kaiser Chiefs – Stay Together

It was always going to be difficult for the Kaiser Chiefs to follow up their excellent ‘Education, Education, Education and War’ album, arguably their best LP yet and an incredible concept album without a duff track. For their sixth album the band have experienced their most radical departure yet, forgoing their familiar hook-based indie style for a much more pop-club vibe mixing up the sound of Girls Aloud with the Pet Shop Boys, in a style change that suits them but takes a bit of getting used to.

Almost titular opening ‘We Stay Together’ starts in a confusing manner as if the producer has accidentally missed off the first few seconds of the song, but picks up once the main musical hook comes into place to create a catchy, up-tempo opening number that sets the mood for the rest of the album. The electronic riff and production effect that makes up the start proper is well produced and suits Ricky’s voice, and once we get to the chorus the familiar energy and hooks of the band are clearly still all present and correct, and there are plenty of sing-a-long moments in this potential live-favourite especially the ‘And there’s a light on’ moment. Even a surprise backing vocal appearance by a Macy Gray sound-a-like (Sarah Thompson) adds to the moment.

After this new opener we get the two singles we’ve heard so far. ‘Hole In My Soul’, up next, is my favourite of the two. Relentlessly up-tempo and with a big and dance-y, chorus it’s hard not to be won over by its bombastic approach, huge production vibe, the strings and building drums, and karaoke feel, and feels like the best mix of the old Kaiser Chiefs sound with the new Xenomania one.

Debut single ‘Parachute’ is similar. I remember on first listen struggling with the change in direction but now, several months on, it’s easy to be whipped up by the building riffs and production and though it’s still a little over-powering compared to their previous material the poppier vibe suits them and the catchiness is still there, even if it’s closer to Girls Aloud’s ‘Untouchable’ than the band will probably care to admit.

So how does the rest of the album fair? ‘Good Clean Fun’ is a foot-tapping mid-tempo song with a fun pop-dance vibe and a solid chorus, even if plentiful references to sex feels like a weird subject matter for the band. Sounding most like something from their debut album, there’s also a surprising ska and reggae feel to the track.

From here the album takes a bit of a dip. The relentless drumming, autotune and lack of any real hook make ‘Why Do You Do It For Me?’ a little on the average side, though the chorus does grow and show its colours by the end and the electronic breakdown is something fresh, though it just feels too over-powering and over-loud.

‘Indoor Firework’ continues the feel of auto tune and stronger electronic focus and though the chorus has its moments the rest of the tracks feels a little scattergun and the song leans too much towards the filler side.

‘Press Rewind’ begins with what sounds like an ode to William Shatner and is the most Pet Shop Boys on the album and weirdly, though it’s the least Kaiser Chiefs sounding number on the album is actually better than the previous tracks, its soaring chorus, quirky rhyming lyrics, vocal cut-aways and extended instrumentals offer something that’s more dedicated to the cause.

‘Happen In A Heartbeat’ switches back to the over-loud, over-produced, simplistic club tunes and is pretty skippable, quickly outstaying it’s welcome. But at least that’s better than ‘High Society’, the worst track on the album with Ricky singing in a weird semi-falsetto and clipped vocals that make him sound like he’s impersonating a chicken. There’s something a little addictive about the style and swagger but it’s a tricky listen and a little too off-the-wall for my personal tastes.

‘Sunday Morning’ is almost as weird but is a much better listen with a fun, obscure vibe with Ricky’s accent making for something a bit different. It’s not great, but you can admire the style.

Official closer ‘Still Waiting’ is a better ender with a soaring chorus and a stronger familiar feel, and ties things together well, drifting off in a strong fashion.

We are then treated to a bonus track which kicks off with some gritty electronic drums but it’s not a really noteworthy track lyrically, with only its unusual production of note and Ricky’s attempt at sounding like Dire Straits, putting on yet another unusual accent.

In a nutshell ‘Stay Together’ is a mostly successful change of musical direction, but only when the songs keep a foot in both camps on the two singles and the opener, or doing something more drastic like on ‘Press Rewind’. Elsewhere the album feels distinctly over-produced and over-whelming, and most importantly very un-Kaiser Chiefy and the second half is a sharp decline in enjoyment.

There’s enough here to enjoy as a catchy, hooky album and it’s an experiment that has sort of paid off – and I admire their balls in doing it - but I hope it’s a return to their tried and tested formula next time.

(6/10)