So to produce this year's album, "Peasants, Pigs & Astronauts" (Columbia), Kula Shaker chose Bob Ezrin, the man who had overseen such concept albums as Pink Floyd's "The Wall," Lou Reed's "Berlin," Kiss's "Destroyer" and Alice Cooper's "School's Out." Despite all this overnight success, Kula Shaker still hadn't made the album they dreamed of.Īs big fans of psychedelic rock in both its late-'60s emergence and its mid-'80s revival, the young musicians wanted to fashion a concept album, where the lyrical themes and musical motifs carried over from song to song. Kula Shaker, which appears Monday at the 9:30 club, was named "Best Newcomers" at the Brit Awards, and Noel Gallagher personally invited them to open for Oasis at its massive Knebworth shows. They did, and the disc not only topped the album charts but also yielded three more British hit singles ("Tattva," "Hey Dude" and "Govinda"). Top 30, Columbia pressured them to hurry up and finish their debut album, "K." The infectious power-pop number, "Grateful When You're Dead/Jerry Was There," was released in January 1996, and when it stormed into the U.K. It does not store any personal data.KULA SHAKER had a hit single in England before the band could even finish its first album. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. The Indian influences makes their music something much more unique, and it seems they’ve realized as much, meaning fans of classic Kula Shaker are sure to love K 2.0. While its energy and content falls slightly short in comparison to K, it’s head and shoulders above the material following their comeback, and promises a far better phase of their career. On a complete scale, K 2.0 is clearly a return to Kula Shaker’s stronger days. It makes for a slightly disappointing closing note for the album, but the strength of the preceding songs largely makes up for their weakness thanks to the different fusions of styles that appear throughout, and the album remains enjoyable regardless. Only in its final moments does the album begin to wear thin, with Get Right Get Ready and Mountain Lifter falling short of what came before the latter ends up working better when taken in isolation, but Get Right Get Ready never really finds its groove in the first place.
The infectious Britpop of Love B (with U) smartly relies on its riffs and looping melodies to hook listeners and Death of Democracy uses its bouncy structure to cover a more serious subject matter while retaining the catchy sound, but the likes of 33 Crows and Hari Bol mix folk and the trademark Indian flavour together to truly sell their arrangements. The fusion of styles is handled expertly, only rarely feeling out of place, and recalling the energy and quality of Kula Shaker’s earlier efforts. While songs like the introductory Infinite Sun completely cover themselves with the sound of sitars and ethnic percussion, there’s an equal number of tracks that carry none of these at all. The heavy Indian influence on K 2.0 sits comfortably on top of its base of rock and folk music. K 2.0, however, is something of a return to form: Fittingly titled to follow the style of their 1996 debut album K, the Indian influence has found its way back, and so have Kula Shaker. While their first two albums were heavily draped with Indian influences, both Strangefolk and Pilgrims Progress opted for something more friendly to the masses, yet retaining some of their spirit in some key moments. It’s no secret that Kula Shaker toned their sound down after their return to music in 2007.
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