Kaiser Chiefs hold an awkward place in the 2005 class of British post-punk revivalists. They never had a problem matching the kinetic energy of Maxïmo Park or the Futureheads. Still, Ricky Wilson and company seemed to lack the endearing underdog quality their peers flaunted so effortlessly. In fact, Kaiser Chiefs were an odd placement into the post-punk class in the first place. The 1990s Britpop of Supergrass and Blur exerted just as much influence on their successful debut, 2005’s Employment. When their sophomore effort came out two years later, the band was admittedly drawing on American classic rock of the 1970s.
For a band whose appeal was built on breakneck choruses and unbridled ebullience, The Future Is Medieval strides more than a few paces from their traditional comfort zone. Per usual, their single choice, almost-raucous opener “Little Shocks” isn’t too distant a cousin of “Ruby” or “I Predict a Riot”, though the record as a whole is something of a departure.