The S.L.P – The S.L.P : CD Album , WHITE Vinyl LP or Limited CLEAR Vinyl LP *Pre Order

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Release Date Friday 30th August 

All pre-orders will be dispatched/ready for collection on that date.

The S.L.P – The S.L.P


1 Meanwhile… In Geneva

2 Lockdown

3 ((trance))

4 The Wu

5 Soldiers 00018

6 Meanwhile… At The Welcome Break (featuring Slowthai)

7 Nobody Else

8 Favourites (featuring Little Simz)

9 Kvng Fv

10 The Youngest Gary

11 Meanwhile… In the Silent Nowhere

The thing is, says Sergio Pizzorno, he didn’t intend to make an album like SLP at all.
After he finished touring behind 2017’s For Crying Out Loud – Kasabian’s fifth
number one album in a row – he liked the idea of doing a solo record: “I’ve been
making a new Kasabian album every couple of years since 2004, I have my routines
and I have the way I like to work, and I just think I felt I needed a re-set, so that I
could approach the next Kasabian album from a different place”.
Nevertheless, he thought that his solo album would sound… well, like you might
think a Sergio Pizzorno solo album would sound. He is, after all, famed not only as
Kasabian’s chief songwriter, but a man dedicated to pushing esoteric influences –
from MF Doom to Bulgarian psychedelia to avant-garde electronica – into the sonic
framework of a mainstream, stadium-filling rock band. A solo album, you could
reasonably expect, would be a chance for Pizzorno to let his freak flag fly,
unencumbered by the need to make music fit to headline festivals and huge gigs.
“I didn’t need to bear any of that in mind,” he nods, “I didn’t necessarily think, ‘I need
a single’, which was liberating. I could do whatever I wanted vocally, range-wise and
character-wise. I could explore different parts of my own character that I could just
turn up a bit. To begin with, I thought it was going to be way more experimental and I
thought it was going to be way more odd in terms of the length of tracks and what
people, even myself would maybe expect: going more into that sci-fi, Krautrock kind
of thing.
“But what I found happening was that I was listening to a lot of Tyler The Creator and
Mac Miller. I was in that world. I sort of got rid of all my synths and guitars and just
sort of had phones and laptops and just picked out sounds. And it turned out like it
did, and I thought it just felt right. In a way, it’s probably a bit more of a psychedelic
move for me to do this than just to make the record I expected.”
He says he found himself writing songs that didn’t end up how he imagined they
would at all. “There’s a track called Trance, which is a love song, it’s an end-of-the-
night, sun-going-down, that beautiful moment. There’s a kind of French
sophistication to it, it’s quite laid back, but it’s still got an ending that’s huge and
euphoric and anthemic. It lulls you in. It doesn’t really want to be an anthem, it wasn’t
really supposed to be, but somehow, I got to the end and thought ‘this is huge’. I love
the idea of that twist, of people thinking ‘oh, right, I’ve got this’, then it suddenly
turning into something else. That’s the thing about the album really, it kind of throws
you all over the place.”

It certainly does. In fact, it’s fair to say that SLP isn’t an album that anyone could
anticipate: an intriguing, unprecedented split between filmic instrumentals – audibly

partly inspired by Roy Budd’s iconic soundtrack to the 1970 British gangster flick Get
Carter – and richly melodic songs influenced by hip hop and grime.
“On the album, there’s three pieces of music that are like the start, the middle and
the end of the album and all three pieces are called Meanwhile:
Meanwhile…in Genoa, Meanwhile…At The Welcome Break (featuring Slowthai) and
Meanwhile…At The Silent Nowhere.
“There’s three notes that run through all of them, so they call you back, you’re back
into a film. I like that, in an album, when you’re just dropped into a world and you go
‘OK, I’m here’. They gave the whole album a structure. It’s almost like a self-portrait,
of where I am now, going down these avenues I’ve always wanted to go down, trying
things I’ve not tried before.
“I just liked the idea of that cartoonish sort of thing, you know: “meanwhile, in the
Batcave…” People see me in a band, they think: that’s what he does and that’s what
he is, so the idea behind them is that meanwhile, he’s completely someone else,
doing this other thing. And inbetween them, it was just a matter of exploring, turning
everything up, just to see where it took me: experimenting with the way I sang, with
different rhythms, with things that I’ve always wanted to do.”
Elsewhere, the album bounces from the distorted chaos of Soldiers to the dubbed-
out psych-funk-new wave hybrid of The Wu, from Lockdown’s examination of
“ending up in a flat at the end of the night with a group of people you know shouldn’t
be there” (“there’s a reference to FIFA 94 in there,” he laughs, “because whenever
you’re somewhere like that, there’s always something odd going on, some bloke sat
in the corner playing some weird old computer game or eating dog chews or some
shit like that”) to the piano ballad meets sun-kissed Balearic house of Nobody Else, a
track that sums up SLP’s breezy, rulebook-out spirit of exploration.
“I started to learn jazz chords,” notes Pizzorno of the latter, “I was playing around
with that, trying to do something in a Marvin Gaye, Stevie Wonder kind of vibe. It’s so
important, that innocence of just exploring and experimenting, when you’ve got that
little part of you going ‘can I get away with that?’ When you ask yourself that, you’re
probably on the right track, because it means you’re doing something interesting. It’s
like the album cover, I’ve got this mad glitter make up on, but it’s spread all my face
like you would when you were a kid – it reminds you that playing is important.”

Elsewhere, there’s the intriguingly-titled Youngest Gary. ““That came from a friend of
mine, who told me that the youngest Gary in Britain was 28: no one’s called Gary
any more, so the youngest Gary in Britain is 28. It’s complete bollocks, but I loved it,
wrote it down, and it turned into this story about a Ziggy Stardust kind of character,
except he’s called Gary, who’s moved to London, he’s wandering about, the last of
his kind, the last Gary in Britain. I just like the idea of people looking at the title and
thinking ‘you can’t call a song that’, but there’s this mad story behind it.”
The single, Favourites, meanwhile, features a guest appearance from hot UK rapper
Little Simz, sparring with Pizzorno on a song that ponders Tinder dating and “Identity
in the digital age, where people are pretending to be someone else online, and that
somehow drives us further away from being who we really are”.

“It was just me and my wife watching these girls flick through their phones, picking
their dates,” says Pizzorno, “thinking about how people’s brains work in a world
where nothing’s real and at no point are you really being yourself because it’s about
projecting this image, this ideal that doesn’t really exist, you know: I can’t actually
say the thing I want to say in front of this person because they think I’m like my
profile, and my profile says I’m really arty and nice. That’s where that line comes
from: “there’s a discrepancy in the bill!”
Little Simz came down to studio and she did it in literally two hours, so professional,
just brilliant. She completely blew me away. It’s something that I’ve always wanted to
do, make music with hip hop or grime artists. I feel like there’s a big crossover now in
terms of the production of that kind of music, with how weird it’s all getting: it’s sort of
moving over to where I’ve been: weird songs that change half-way through, little odd
noises. I feel like I want to do more of this, even though I suppose people wouldn’t
expect it of me or even know it was possible.”
The collaborative aspect of the project continues on the woozy ‘Meanwhile… At The
Welcome Break’. Following a meeting with slowthai at one of his shows in
Birmingham last year, Serge instantly recruited Tyron to feature on the album. In
fact, he says, that’s how he would like the SLP project to develop in the future.
He is excited about the forthcoming SLP live shows early September “where I sort of
play the songs in character, so each song will be part of my character, I’ll get into
that role”, and fully intends to make more music under the banner.
“It sort of exists now, and that’s really exciting, because I have this outlet, I can be
that person in that world. Moving forward, I’d like to collaborate more and open that
door more. The SLP project will become this sort of place I can go and just do
whatever. It’s so important to have that. My life in the band and my boys, that’s part
of me that will be there forever, but then there’s something else I have to get that out
or I won’t be able to move forward.”

Which does beg the question: what do the band and the boys make of all this?
“It’s been quite beautiful really,” he says. “Before the end of the last tour, I spoke to
Tom and he was always, as ever super-positive: “yeah, I can’t wait, amazing, go
man, amazing, amazing”. Then he went “hang on, you’re still going to do Kasabian,
right?” I told him not to worry. I’ve sort of started on the new Kasabian album,
Hang on, you’re releasing a solo album and planning a series of solo gigs while
making a new Kasabian album?
“Yeah,” he smiles. “Luckily for me, this is what I like, it’s just what I do. Making music
feels like time off for me. You get to a certain point where you’ve sort of seen
everything and you sort of know how things work, and you just…” – his voice dips
into a whisper – “don’t give a fuck anymore about any of it.” He laughs. “You just go:
I really like making music. Right, bang, let’s just make some music.”

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CD Album £11.99, WHITE Vinyl LP £22.99, Limited CLEAR Vinyl LP £22.99