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**Kasabian - For Crying Out Loud**
★★★☆☆

Leicester's sonic conquistadors Kasabian have always been masters of bombast, but their sixth studio effort "For Crying Out Loud" finds them wrestling with demons both personal and creative, resulting in their most uneven yet occasionally transcendent work to date. While it may not reach the stratospheric heights of their career-defining masterpiece "Empire" (2006) – an album that perfectly bottled their swaggering blend of electronic-tinged indie rock and delivered anthems like "Empire" and "Shoot the Runner" that still ignite festival crowds today – this 2017 release showcases a band grappling with middle age, mortality, and the weight of expectation with admirable honesty, if not always successful execution.

The album's origins are steeped in turbulence. Following the lukewarm reception of 2014's "48:13," the band found themselves at a crossroads, with longtime guitarist and chief songwriter Serge Pizzorno shouldering increasing creative responsibility as frontman Tom Meighan battled personal struggles that would eventually lead to his departure from the band three years later. The recording sessions, split between Pizzorno's home studio and various locations, became a cathartic exercise in exorcising ghosts while attempting to recapture the lightning-in-a-bottle energy that made their early work so compelling.

Musically, "For Crying Out Loud" sees Kasabian doubling down on their signature sound while incorporating subtle nods to their electronic roots and contemporary production techniques. The album oscillates between full-throttle rockers and more introspective moments, though it lacks the cohesive vision that made albums like "West Ryder Pauper Lunatic Asylum" (2009) such a thrilling ride from start to finish. Pizzorno's guitar work remains as inventive as ever, weaving together influences from Krautrock, Britpop, and electronic music, while the rhythm section of Chris Edwards and Ian Matthews provides the thunderous backbone that has always been Kasabian's secret weapon.

The album's standout tracks showcase the band at their most vital. "You're In Love With a Psycho" explodes from the speakers with the kind of infectious energy that recalls their imperial phase, built around a hypnotic guitar riff and Meighan's most committed vocal performance on the record. It's pure Kasabian DNA – equal parts menacing and euphoric, with enough hooks to sink a battleship. "Bless This Acid House" pays homage to the band's electronic influences while maintaining their rock credentials, creating a bridge between their past and present that feels both nostalgic and forward-looking. Meanwhile, the title track serves as an emotional centerpiece, with Pizzorno's vulnerable lyrics cutting through layers of atmospheric production to create something genuinely moving.

However, the album stumbles when it reaches for profundity without earning it. Tracks like "Twentyfourseven" and "Bow" feel like pale imitations of the band's earlier triumphs, lacking the conviction and spark that made songs like "Clubfoot" and "L.S.F." such essential additions to the British rock canon. The production, while technically accomplished, sometimes feels overly polished, sanding away the rough edges that gave their best work its distinctive character.

In the broader context of Kasabian's career, "For Crying Out Loud" represents a transitional moment for a band caught between their glorious past and an uncertain future. Their early trilogy of albums – the self-titled debut (2004), "Empire," and "West Ryder Pauper Lunatic Asylum" – established them as one of Britain's most vital rock acts, capable of filling stadiums while maintaining credibility with critics and tastemakers. Their ability to synthesize influences ranging from The Stone Roses to Primal Scream into something uniquely their own made them standard-bearers for a generation of British rock fans.

Today, Kasabian's legacy remains secure, even as they've had to reinvent themselves following Meighan's departure and Pizzorno's transition to frontman duties. Their influence can be heard in countless British bands who've followed in their wake, and their festival-headlining status seems unshakeable. "For Crying Out Loud" may not be their finest hour, but it captures a band refusing to go gentle into that good night, still swinging for the fences even when they don't always connect. In