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.”