THE LAST SHADOW PUPPETS - EVERYTHING YOU'VE COME TO EXPECT (ALBUM REVIEW)

The debut album ‘Age of The Understatement’ came at a time when the Arctic Monkeys were a solid two albums into their voyage, a reasonable time for any front man to gallivant on a side project. Given the unique level of success and exposure the Monkeys received from their first two albums it was inevitable that the side project would, likewise, generate comparable interest. This endeavour is now well in the past and much has changed since. The Arctic Monkeys’ profile had much promise all those years ago; many fans knew the band would excel and grow to remarkable heights. Standing here in the present we can safely agree that the prophecy materialised. Filling arenas in the U.S and frankly dominating the scene in the UK one could argue that the Monkeys are the biggest band in the world right now. Miles Kane also enjoyed success during The Last Shadow Puppets sabbatical pursuing his solo career, his success however arguably came from his collaboration with Turner but let’s not diminish the quality of the material he released some of it was fantastic. He appears to have made a name for himself, no longer is he perceived as Batman’s Robin or Alex’s +1 he is now respected by his own fan-base as an illustrious indie-rock bachelor. Many wondered if the boys would ever get back together for round two, with it seemingly looking as if Alex had his full focus on the Arctic Monkeys during the release of ‘Humbug’, ‘Suck It and See It’ and ‘AM’. Turner never ruled out a return to TLSP’s and said him and Kane always knew there would be a second maybe even a third at some point in the future. When we arrived at ‘AM’ in 2013 it felt to all like a natural point for the Arctic Monkeys to take a break. There is no doubt in the world that the Monkeys will be back to release a 6th album after the band members round up their current side projects, so fear not world!

Alex seemed to use the project as a time to explore his talent by working on his vocals, melodies and inspiration. He veered away from that upbeat dancey rock vibe that the Monkeys first two albums were so well renowned for and constructed an intricate album of slow rock ballads that was clearly heavily influenced by his idol John Lennon and The Beatles. This album from The Last Shadow Puppets went on to play a huge part in the Arctic Monkeys following records most noticeably on Suck It And See It. Rounding up the rest of the band we have producer/drummer James Ford and string arranger Owen Pallett who both worked on the first album and are known associates of both Miles and Alex.

They resumed the proceedings as normal but fortunately the album doesn’t follow this example, there is no sense of riding the same wave or picking up where they left of nearly a decade ago. Historically dragging Turner from his Arctic Monkeys comfort zone pays its dividends and this time round is no exception proving just as stimulating as it was on their first album. With a weight lifted from his shoulders having proved himself as a musician and songwriter this frees the constraints of his creativity allowing him to push the boundaries with relatively low stake. The general ideal of song writing is clearly second nature to him now as he spews songs from every orifice of his body. Having said this there is no indication of simply ‘settling’ when coming to this album each track clearly took its time and graft. The album has a matured feel to it, one of wisdom and style that coincides with the life of Kane and Turner 8 years on. They have both upped and moved from their beloved Sheffield now residing in sunny California. The barefaced cultural differences of the two locations has evidently rubbed off on them both as they opt for a tropical and airy sound that boils down as far as their colour scheme and music videos. Long gone are dreary, grey and rainy love ballads with the pungent Sheffield twang, the new era of TLSP is thousands of miles away from where it started.

Everything You’ve Come to Expect was released on 1st April 2016 via Domino Records. It’s one of them albums that bare no cracks; the structure is solid throughout with no tracks able to be single out as the weaker of the pack. We can pick out some of the standout songs for sure but this in no way mocks the strength of the others, it’s an impressive record. Bad Habits was the first to be released when the album was announced and tour dates began to surface. It’s the most upbeat of the album with hip-swinging basslines, read between the line lyrics and piercing lead guitar riffs with that ritual tremolo twang. The perfect song to ensure they come back with a bang, they included this single as a coloured 7” in the Deluxe edition of their album. Aviation is perhaps the most ‘puppety’ tune on the record which ignites vivid flashbacks to their former sound, fitting considering it’s the first track on the album allowing you to take note of the progression throughout. We drift into Miracle Aligner the second track on the album a song that sounds like a by product of AM and Humbug but quality checked and packaged in TLSP factory. A dreamy bedtime story of light misogyny sung as an ironic lullaby to those purposefully blind to the notion. Alex’s tounge twisting poetry is at its best here and can be interpreted in an array of ways keeping the magic alive as he, and only he, knows the true connotation. The song itself is soft and dreamy you could bottle it up and sell it as crack cocaine for insomniacs. Up next we get transported to Transylvania for an eerie rendition of a spooky tale with Dracula’s Teeth. Don’t worry we’re not doing a track by track review it just so happens that the first three on the album are awesome songs! This song has a great bop to it throughout with a catchy bassline and acoustic guitar carrying the track at the foundation with haunting reverb lead guitar over the top. The contrast between these instruments and the string arrangement is what makes this song particularly interesting; the strings give it an uplifting, light hearted fairytale sound whilst the lyrics and primary instruments evoke a sinister undertone. It’s a short song at only 2:51 minutes, but one that will resonate in your mind throughout the rest of the album.

https://www.youtube.com/watch?v=Fd1Xc6-6VVg

Our next checkpoint is at ‘Used To Be My Girl’ on side B of the LP. A cleverly constructed cliché love song with yet more funk and smoky tremolo guitar tones. We would stretch as far as saying this is our favourite on the album, its dangerously infectious. Throughout the album you can imagine both Kane and Turner on stage in a classy jazz bar singing whilst the upper-class guests wine, dine and foxtrot to the sound of their soulful melodies. The last song on the album The Dream Synopsis is an extremely intimate track which is seemingly a reflection back on Turner’s career. Potentially one of the most interesting songs he’s ever written, he uses the melody to ponder the reality of his life with moments of self-realisation, questioning and grounding. During the song Alex continually questions whether its ‘ugly’, ‘boring’ or ‘torture’ to hear about his ‘dreams’. This is territory that could not be explored in the visage of the Arctic Monkeys boisterous and self assured personality. Many Monkeys tracks create a story through character to keep listeners at an arms distance this type of intimacy is unique. TLSP gives opportunity for Turner to open up and profess himself in a human manner. We appear to have a slightly homesick and nostalgic pair on our hands as they refer back to their hometown Sheffield and even old part-time jobs. There is an element of lifestyle reflection in the lyrics of this song as he ponders the glitz and glamour of his new LA abode against the home comfort of his beloved Sheffield. He merges notions and aspects of the two locations into the same verses creating a surrealism that would make no sense to an unfamiliar mind. After all how often do you find a palm tree in Sheffield? This is a great song to round off the album as a milestone to stop and take a look back on all he has achieved so far with slight vulnerability to it all.

It’s a cleverly crafted masterpiece that looks well on its way to top spot on the UK Music Charts. Not for the over critical mind, or one that is dead set on scrutiny but for listeners who have an open mind and an insatiable urge to float out of the earth’s atmosphere on a bed of feathers. The general consensus of the record looks focused on creating a delicate merger between AM and Humbug, does anyone else hear this? The twangy damp sound of Humbug is consistent throughout with the song writing slenderness and concise conviction of AM. That’s not too say that this was their purpose at all but it seems these styles were in the forefront of their minds when writing the album. One could argue that AM’s prominent inclusion is present given this was the last project Alex had undertaken, a leap forward in his creative process and master class on song writing. Humbug came off the back burner of TLSP’s first album and was heavily influenced by that side project, Miles and Alex left an impression on each other’s styles massively in 2008 and this would explain its weight on this latest album given it was the last time they worked together. There is however another element in this convoluted mixing pot, one that was mentioned earlier. The new found Cali lifestyle adds an exciting zing to the record, the sun, sand and relaxing lifestyle seem to have had more influence on the pair then they may even care to admit. It’s a fantastic infusion of styles that’s well worth a listen or two or three or four, you get the idea just buy the fucking record.