I'd buy your line of reasoning, but Kings Of Leon got huge off of one or two singles, despite their albums being wildly uneven. To get big now you just need a hit. A big one. And then that's about it.

It's on the album mate, unde the title "La Fee Verte".

Noel describing the album as 'quite good' is worrying.

I think they've let all the hype and their status as a great live band go to their heads a bit and have just tried to make everything sound a bit too massive ala Be Here Now.

Hope I'm wrong though.

Serge talking to music week about the album (SP=Serge, MW=Music Week )

MW: So, which are your favourite tracks on the record?

SP: First single Days Are Forgotten is special; it's just a song for the outsiders with a ‘Get the fuck out of the way’ kind of vibe. The screams at the start are kind of ‘Yoko Ono’, like Santogold, you know?

MW: My favourite's Re-Wired.

SP: I think that's going to be the second single. It's got a modern take on that New York Stones

MW: The start of the album - Let's Roll Just Like We Used To. Until now you've had quite big pumping numbers opening your albums, but that's not happened. Why is that?

SP: It was gonna be like Days of Forgotten but I wanted to set this up differently. I wanted people to do a double take when they realised it was us and I think you feel differently about the record then. [The track] is really melodic; Tom's voice is unbelievable and people will think ‘Okay, this is tunes; this is all about the tunes’.

MW: You talked earlier that you want people to see value in this album. I believe that the album is the art and singles are a just marketing tool, so I really appreciate things like really well thought out tracklistings. I have a feeling you have thought very carefully about the order of the songs?

SP: Absolutely! We had sleepless nights over it. It's so important to capture the imagination I think. We're starting with Let's Roll - it does something to you - it's like you're setting up a film. I see it the same way the opening scene, the music, sets the mood and you go ‘Okay, this is,…’

MW: I remember when I first bought records, I used to really think about it ‘cos you had to flip them over. It was like the start and finish on the A side, then the first track on the B side is really important.

SP: You know what? It's funny you should mention that because, it sounds so old fashioned now, doesn't it? But I did think and always have thought of an A and B side and I know you never get that ‘cos CDs just run through. But I do hear that Velociraptor! finishes the first side, Acid Turkish Bath starts the second and that’s the moment where you can flip the record, sit down, go ‘Okay I might have a little five minutes here before listening or go straight in’. You get that little pause and on the record the time between the two is pretty long.

MW: So if this was a film, Velociraptor! is the track where the dinosaurs come in,...

SP: It's a comic book song!

MW: ...and eats everyone and it’s like ‘what the fuck happens next?’.

SP: Exactly.

MW: I get you. Acid Turkish Bath (Shelter From The Storm), I thought it was a bit Led Zep that one?

SP: Yeah, it's got echoes of that. It sort of flows like a hip hop tune and it's got the Eastern feel - the beat's very Can, actually; it's kind of got that jazzy Can feel. But then there's a big chorus – and they never kick into a chorus, which is why they're amazing. But I thought wow, in this album they're just tending to be big choruses and I don't know why they just happen that way.

MW: You sing on Acid Turkish Bath and also on one you mentioned earlier, La Fee Verte, that one’s kind of Beatleseque, when they were at their most psychedelic, isn’t it?
SP: Totally. It's sort of Syd Barratt, Pink Floyd. [Neon Noon – the third track sung by Pizzorno] is just the perfect way to finish the record. I've always loved Wish You Were Here. I heard that in a car, in a cab in New York at 7am one morning. It came on and I was like ‘wow - what a moment, it just feels so beautiful’. Thinking about that and Boards Of Canada which I've always sort of liked, just trips me out, make me feel sort of beautiful and I do, try and get that feeling in my music.

MW: Will you be performing the album all the way through, start to finish?

SP: Yeah, next year - when everyone's had it a year. It would work because it flows so beautifully.

MW: The most full on Kasabian number is probably Switchblade Smile. Then opposite to that you have I guess a Phil Spector like number Goodbye Kiss – I like that a lot. You've got all these other influences going on but there's still stuff there to appeal to your Kasabian diehard fans?

SP: I suppose I've just got such a broad taste and I don't like when people say ‘You can't do that!’ - it makes me want to do it even more. I’m like, ‘Fuck off mate, it's like, life's too short and If it's good then if you can pull off an album with Switchblade Smile and Goodbye Kiss on the same record. It just means that next time you can go wherever you want. If people allow you to be free creatively, it's so exciting because it means next time you can go even further.

Well, Sara said about Noel's album "It's no Kasabian, is it?"

Anyway, one of my friends has heard the album, she got to review it... She said it's brilliant. Completely full on Kasabian... But she refused to tell me any more because I'd have to wait

I can't remember where I saw it, but they said that there may be an outdoor tour next year... I said this a few months ago on this forum and everyone was saying I'm wrong.... well... ROLL ON WEMBLEY!

Behind the scenes at the Q magazine cover shoot...Lucky Bastards

Kasabian announce monster 10-date arena tour !!

www.music-news.com/shownews.asp?nItemID=43528

Pistols at dawn seems great after hearing the 1minute and 30 seconds snippet on itunes.

I just found it on UK iTunes there. Sounds great

My upload of Pistols At Dawn clip... for those who can't hear it... MEGA

I'm thinking about the London date but why the O2 arena?! Would be again a nice contrast to the small gigs here in Germany.