Tag Archives: alex turner

Top Five Deep Cuts: Arctic Monkeys Edition

11 Sep

In the fifteen years since Arctic Monkeys emerged on the music scene, they’ve donned a dozen different hats. From their garage rock-style energetic debut album to their most recent space-themed lounge rock album, their sound is incredibly hard to pin down.

They’ve been described as the distilled-down sounds of the Strokes, The Killers and Franz Ferdinand (arguably, three of the most influential rock outfits of the 2000s), but they’re somehow much more than that. With frontman Alex Turner’s expertly written and clever lyrics, and the band’s undeniable musical prowess, the Arctic Monkeys have rightfully dominated the rock scene for years now.

They hit mainstream fame with their 2013 album AM and became a household name, with tracks like “R U Mine” and “Arabella”. These tracks are, no doubt, incredible (and make you feel cool and suave for listening to them), but there are some truly hidden gems in their body of work that showcase a different side of the Arctic Monkeys.

If you’re keeping score, it’s been almost exactly seven years to the day since the release of AM in September 2013. (Note: We at TFR prefer to forget the existence of Tranquility Base Hotel and Casino.) Given the hellscape that is 2020, we thought it was a good time to take a quick, refreshing flashback into the early aughts. Without further ado, here are our picks for the top five Arctic Monkeys deep cuts!

5. “Piledriver Waltz” from the Submarine soundtrack

If anyone should be commissioned to write the soundtrack to a British coming-of-age drama, it’s Alex Turner. He’s incredibly skilled at finding the balance between deeply poignant and casually whimsical: which about sums up the teenage experience for most, we suppose. And how many musicians can write an upbeat heartbreak song with references to Elvis, circuses, Jesus and traffic lights, all while adhering to the incredibly difficult ¾ time signature?

Piledriver Waltz is the least mopey breakup song. It’s certainly wistful in tone, but has a warm fuzziness that leaves you hopeful for the future. The layered instrumental production on this version adds more depth to a starkly three-dimensional portrait of a broken relationship. Though a slightly different version was later released on Suck It and See, this version holds a special place in our hearts and in those of other true-blue Turner fans. Nothing changed too considerably between the two versions: the lyrics and the melody are identical, yet somehow, this one is just a little more cinematic and melancholic than the album version.

4. “Mad Sounds” from AM

Somewhere in the early 2010s, Alex Turner seemingly dropped his Suck It and See-era softboy persona and dove headfirst into a vat of hair gel and leather jackets. The band emerged fully reinvented, as a Proper Rock Band™ that played heavier rock with the catchiest riffs and hooks. It’s no surprise that they blew up with AM; it appealed to fans of rock, hip-hop, pop and R&B all at once. Tracks like “Do I Wanna Know” and “Why’d You Only Call Me When You’re High” have permanently changed the face of the 2010s indie rock landscape and have quickly become modern classics.

“Mad Sounds”, though, is a sharp deviation from the rest of the album’s British-James-Dean feel. Nestled right in the middle of the album, the track is a gentle, lilting reminder that the Arctic Monkeys are more than a rock and roll band that writes about one night stands and pub culture. “Mad Sounds” feels, instead, like a spiritual sequel to Velvet Underground’s “Pale Blue Eyes”. If the Velvet Underground were still together, this is what they’d have sounded like in 2012.

Turner’s vocals ring sharp and crystal-clear, and though the lyrics aren’t saying much, it’s a much-needed respite from the verbal barrage of the rest of the album. The lines “And out of nowhere, somebody comes and hits you with an ‘ooh-la-la-la-la’” essentially sum up this track’s place in the album, and in their discography.

3. “Temptation Greets You Like Your Naughty Friend” feat. Dizzee Rascal

Possibly the deepest of deep cuts; even most hardcore fans don’t know about this B-Side to “Brianstorm”. The track features British rapper Dizzee Rascal who, at the time, was at the peak of his rap career. Arctic Monkeys have always cited rap and hip-hop as one of their primary influences growing up, but that’s usually a very subtle contextual layer to their music. This track is unique for a number of reasons. The band almost never features any other artist on their tracks, and they never mix genres to this degree. But somehow, they did it for this track, and somehow, it works.

It’s tough to produce art that transports the listener to an exact time and place, but this track does exactly that. The raw energy of the song makes you feel like you’re a frustrated British teen in the 2000s, which is probably exactly what they were going for (and until recently, were themselves). Turner’s lyrics are, of course, beautifully minimal (“The only roads are cul-de-sacs/ The only ends are dead”) and his voice still has the boyish charm of the band’s early work. The strong riff line and the syncopated drums are a perfect match to Dizzee Rascal’s grime-style rap bridge. “Temptation” might be an anomaly as far as AM’s music goes, but it’s a refreshing reminder that the band can dominate in just about any genre.

Bonus: Amazing live version with Dizzee from Glastonbury 2007. Ah, 2007.

2. “Secret Door” from Humbug

Humbug is, in many ways, a transition album for the Arctic Monkeys’ sound, where the line blurs between upbeat post-punk and romantic indie rock. Consequently, it’s one of their most divisive albums. “Secret Door” is the perfect example of this in-between space. While the verses have that classic high-energy style of the older Arctic Monkeys, the chorus and the outro are haunting,  cinematic and beautiful.

Alex Turner’s lyrics have always been good, but with Humbug, he began to write what was essentially poetry set to music (“Fools on parade cavort and carry on / For waiting eyes” ), yet somehow he manages to avoid sounding cloying in the process.

‘Secret Door” is probably frequently overlooked because it’s just such a shock to the system. As the opening track on Humbug, fans expected a huge, over-the-top audio explosion, like “Brianstorm” on Favourite Worst Nightmare. What they got, instead, was this mish-mash track that sounded like the background score to a sentimental scene in a John Hughes movie. But still, the raw talent of Turner’s vocals, combined with drummer Matt Helders’ impressive percussion make this one of the most engaging and musically interesting tracks on Humbug.

1. “She’s Thunderstorms” from Suck It And See

Alex Turner knows how to write a love song. He knows how to turn a phrase that’s romantic but never cheesy, and it shows on this track. Nobody in human history has ever described their love interest as “thunderstorms”, and yet, you know exactly what he’s talking about.

Suck It And See, Arctic Monkeys’ fourth studio album, is another one that’s heavily debated amongst fans: they either hate it with a burning passion or think it’s their best work. There’s no in-between. SIAS, the incredibly stripped down, softpop follow-up to Humbug, begins with the minor-key sinister opening riff on “She’s Thunderstorms”. Immediately, though, the warm vocals and lead guitars kick in, and you immediately feel cheery and comfortable; like you’re in 500 Days Of Summer.

The track showcases an amount of restraint that the band had never demonstrated before. The lyrics are minimalist, the production isn’t heavy-handed, and the instrumental arrangement is just enough. It’s clear that this is a grown-up version of the angry teenage Arctic Monkeys from the first two albums, but it’s mature in a quiet, self-confident way. They’re comfortable enough to tone it down a notch and still get their point across.

Honorable mentions:

Cornerstone” from Humbug

This may be a personal bias, but it’s our opinion at TFR that this is the best love song ever written. Paired with a hilariously low budget music video, this track really shows the Arctic Monkeys at their best.

Mardy Bum” from Whatever People Say I Am, That’s What I’m Not

This is a simple song from their debut about a tiff between a couple, narrated in a ridiculously strong Sheffield accent. The band comes through with a surprisingly strong guitar solo, about midway, that changes the tone of the song entirely.

Feels Like We Only Go Backwards” by Tame Impala (cover)

It’s tough to improve on a Tame Impala track, but if anyone can do it, it’s Alex Turner. The band has a way to make the song sound soulful and complex, seemingly effortlessly.

The Bakery“, B-Side to “Fluorescent Adolescent”

Very similar in theme to “Cornerstone”, but relayed in a British dialect so strong that you probably don’t know what they’re talking about, exactly. (What is a “tatty settee”?) Turner’s voice is delightfully laid back, and the production is so sparse that it feels like you’re watching your college band run through a practice. Its simplicity is what wins you over. 

Agree? Disagree? Let us know in the comments!

Arctic Monkeys – Tranquility Base Hotel & Casino

13 Dec

In many ways, the Arctic Monkeys’ sixth studio album Tranquility Base Hotel & Casino is the antithesis of their break-out debut (Whatever People Say I Am, That’s What I’m Not).

For starters, Tranquility is much slower-paced, relying heavily on dreamy piano bits and understated bass-lines, while the debut practically rewrote the book on fast-paced guitar riffs. Lyrically, Tranquility has lead singer Alex Turner making circuitous, often self-important statements, differing vastly from the sharp observations on “From the Ritz to the Rubble” or on “A Certain Romance” – and ironically becoming the same person he lambasted on “Fake Tales of San Francisco”.

And that isn’t the biggest irony. The Monkeys’ debut propelled to instant fame partly because it was precisely at the right point in music history to become one of the Internet’s first “viral” hits – but Alex Turner, in an unfortunate turn toward the geriatric, devotes many lines on Tranquility to the supposed evils of a connected world.

It isn’t all bad news, though. “Four Out of Five”, with its bass-laden brilliance, details Turner’s fascinating album concept. Apparently, the very real Tranquility Base now houses a hotel and casino on the moon, complete with a house band (Arctic Monkeys as the Martini Police) and a taqueria on the roof. There’s also a hint of a futuristic dystopia (“Since the exodus, [the moon’s] all getting gentrified”), which the music video builds upon with intrigue.

Batphone” is another stand-out track, with a subtly sexy bass and an old-school thriller vibe that perhaps makes the Monkeys great contenders to soundtrack the next Bond movie. The title song also shines through O’Malley’s bass-line, and a dollop of magical realism (“Jesus in the day spa / filling out the information form”). By the time you get to the chorus, you almost feel like you are, indeed, at the Monkeys’ hotel and casino complex.

However, the album betrays a steep decline in Turner’s lyrics. “Technological advances / Really bloody get me in the mood”, he complains on the title song, and seconds later beseeches his lady love, “Pull me in close on a crisp eve, baby / Kiss me underneath the moon’s side boob”. Yuck, on both counts. On “She Looks Like Fun”, he descends into simply yelling out non-sequiturs (“Good morning” / “Cheeseburger” / “Snowboarding”) – apparently, they are all references to his now-ex-girlfriend Taylor Bagley’s Instagram feed, but that knowledge cannot excuse these lyrics (and somehow makes them worse). On “Batphone”, he talks about using “the search engine” and the time he “got sucked into a hand-held device”. Perhaps the technological ignorance is meant to be quaint?

Apart from the lyrics, the album’s other big travesty is the criminal under-use of Matt Helders’ drums. Other than Turner’s (erstwhile) quick wit, Helders’ drumming was perhaps the key reason to be a Monkeys fan. On Tranquility, he is relegated to simple beats that a drum machine could have probably provided, while Turner takes front stage with an often-rambling persona. On the music front, the silver lining is that Nick O’Malley really outdid himself on the bass, practically carrying otherwise-unmemorable songs.

With Tranquility Base Hotel & Casino, the once-cool Arctic Monkeys have taken a worryingly avuncular turn. Hopefully, Alex and co. will be able to take the best parts of this album for a livelier seventh output. This one, though, is a dud.

Best songs: “Four Out of Five”, “Tranquility Base Hotel & Casino”, “Batphone”

The Last Shadow Puppets: Everything You’ve Come to Expect

28 May

everything-youve-come-to-expectIn 2008, the world was a different place for Alex Turner and Miles Kane. Turner was a shy lad, still getting used to the stardom accosted onto him after two hugely successful Arctic Monkeys albums. Kane was exiting from the Little Flames, a venture that failed to produce even a debut album, and touring with his new band, the Rascals, alongside the Monkeys. Perhaps as an escape from their main storylines, Turner and Kane began playing together backstage: a pair of gentle, romantic boys almost clinging to each other in a turbulent and uncertain time of their lives. This side project, dubbed The Last Shadow Puppets, culminated in a baroque-pop testament of drama and nostalgia entitled The Age of the Understatement.

A lot has changed in eight years. As Turner said in an interview with British late night host James Corden, TLSP seems to serve as an octennial documentation of the duo’s personal and professional lives. After five successful Monkeys albums, Turner has taken on a stereotypical rock-star persona (whether affected or real is still a matter of contention among fans). Kane has transformed into a modish cad, dating an array of models on both sides of the pond and attiring himself solely in razor-sharp silhouettes. Even in a very literal sense, both men have moved away from their roots in northern England to hedonistic mansions in LA. In a sense, Everything You’ve Come to Expect feels like a reconciliation between the 2008 versions of the two men and their 2016 versions.

This sense of reconciliation can be seen (as is often the case with pop stars) in their songs about girls. In 2008, Turner and Kane mainly wrote songs about wooing girls, in a tone that can best be described as early-Beatles-esque naivete. In 2016, the duo mainly writes songs about girls that have done them wrong, girls that are ill-advised pursuits, girls that are no more than that night’s entertainment, and so on.

In first single “Aviation” (about getting high, get it?), the narrator tries to convince a druggie girl with colorful eyes to start a casual relationship with him. In the eponymous title song, the narrator speaks of getting cheated on by a girl who liked him only because he was part of TLSP. “The Element of Surprise” takes a slightly different route; Turner talks about his rustiness at the wooing game, after meeting a girl who has caused him to fall in love after a long string of seemingly casual relationships. “Sweet Dreams, TN” is the thematic next step: an ode to his current girlfriend Taylor Bagley, who’s a Tennessee native with a septum piercing just like the girl in the song. Even though Turner’s friends and fans think of Bagley as a Yoko Ono of sorts in the Arctic Monkeys universe, Turner feels that he’s truly in love with her. It’s only on the album closer, “The Dream Synopsis”, that we see a glimpse of the old Turner. On that song, he reminisces to his new girl (probably Bagley) about his simple, pre-fame life in Sheffield – and immediately takes a self-conscious step back into nonchalance (“Isn’t it boring when I talk about my dreams?”).

Even though they have changed dramatically, one cannot underplay Turner’s signature lyrics. The Transylvanian descriptions on “Dracula Teeth” (“The full moon’s glowing yellow and the floorboards creak/C’est horrifique!”) paint a horror-movie setting for a girl that haunts the narrator like a ghost. On “She Does the Woods”, Turner speaks of a “spirograph of branches” behind the girl he’s shagging in the woods. On “Pattern”, he describes his complicated relationship with an ex as a spider slipping and sliding on an icicle. It’s the kind of intuitive imagery that we’ve come to expect from Turner’s words.

On a practical note, Everything You’ve Come to Expect does have everything you’d expect from a Puppets album: lyrics that smoothly roll off the tongue, the genius of Owen Pallett’s arrangement, the famed Turner-Kane chemistry. On a philosophical level, however, The Last Shadow Puppets no longer exists. What exists in its place is another side-project by an eight-years-later version of the same two men: a real-world example of the Ship of Theseus. The Age of the Understatement was a collection of lushly orchestrated novellas, created by two boys who wrote tender love letters in the age of Tinder and text message hookups. Turner and Kane are no longer those boys. In fact, they are now the very playboys that represent the “understatement” of modern-day romance. Understatement felt like a natural outlet; this album feels like more of a forced output. Still, it’s worth a listen, if only for Turner’s lyrics.

Best song: “Dracula Teeth”

 

 

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