The Arctic Monkeys have, not wanting to turn their backs on perceived failings, put at least three songs on Suck It And See (Brick By Brick, Library Pictures, All My Own Stunts) that play out like salty leftovers from their previous album - Humbug. Library Pictures, for instance, could be taken as a companion piece to Pretty Visitors with it’s cascading rhetoric and lucid midway waltz. Generally though on Suck It And See there’s an overall feeling that the Sheffield foursome are striving for more than just the breathe-too-hard-and-they’ll-fall-over melodies featured on Humbug. The denser production and brighter tone on songs like Reckless Serenade, Suck It And See and the epic That’s Where You’re Wrong hint at a new direction altogether.
As the rest of the British indie/alternative music scene scrambles desperately to sound like early to mid 1980s synth pop groups (a revivalist genre ensnaring the likes of Kaiser Chiefs, Glasvegas and Editors) the Arctic Monkeys have boldly moved on a step and now warmly tip their flat caps to late 80s Madchester bands and Union Jack waving 90s Britpop stalwarts such as The Stone Roses, The Charlatans, The Bluetones, The Lightning Seeds and, erm, Babybird (you’ll know it when you hear it). It’s a brave step, considering that said decade of untucked long-sleeved shirts and shaggy bowl haircuts still feels relatively close and, as with all just-departed periods of fashion and music culture, regrettable. But the Monkeys’ fourth album effortlessly strives to celebrate a jangly, drunken singalong vibe that has all but vanished in contemporary indie rock.
Suck It And See’s opening track contains a couple of mistakes… intentional mistakes, of course… clever mistakes. She’s Thunderstorms acts as a continuation of Humbug’s precedent of getting the ball rolling with a tale of sexual frustration and symbolic titillation. Alex Turner sings about having girls “lying on [their] front” or “up against the wall”. Wherever. But girls send his mind and mouth into a frenzy and his rising blood pressure shoots his vocals into a topsy turvy summersault. So much so are these four Northern boys distracted by black leggings and teasing feminine fringes that even the guitar solo gets “sabotaged” by too much distortion that creates an ugly and cloudy fuzz tone (tightened slightly with effects and equalisation) that most guitarists would demand a re-take of.
What seems to have changed most of all since 2006’s Whatever They Say I Am, That’s What I’m Not is the prioritisation of Turner’s crooning vocals over frenetic twin guitar attacks. Each song is constructed to allow the vocals to wander in and out at any time, like a band playing live that’s waiting patiently for their singer to swagger back on stage after a lengthy cigarette break. The compositions are looser and take into account a more patient audience/fanbase that are less in need of instant pop gratification. You get the feeling that Richard Hawley and The Divine Comedy have been playing on Turner’s turntable of late and have taught him the importance of languid purposeful pace and charming music hall pomp.
If their milestone 2006 debut represented a snapshot of being at the age when you’re either too old or too young to get away with reckless behaviour and could never (and probably should never) be repeated then ideally what has come along since should be considered their true starting point. Suck It And See is the sound of the Arctic Monkeys finally settling into themselves; juggling playful images of love, loss and life in perpetual motion with shimmering guitar jetstreams and show-stopping rhythm section interludes.
But there are still pleasant consistencies: we’re treated to perhaps the most tender and soulful tune they’ve yet committed to tape in the form of Love Is A Laserquest which continues their endearing predilection for introspective ballads (see Riot Van, The Only Ones Who Know and Secret Door for more information). We also get a (now standard?) mid-tempo love song with Piledriver Waltz that’s definitely equal to the likes of Mardy Bum, Florescent Adolescent and Cornerstone.
Overall Suck It And See has a lasting quality that makes up for the service station comfort break that was 2009’s Humbug, however the whiskey soaked ventures into haunted forest atmospherics are still present and have yet to be shaken off by a band still too youthful for such bitter grown up antics. Stick to the guitar pop, boys, there’s still plenty of time to emulate Nick Cave and Tom Waits... and don’t worry about trying to impress Queens Of The Stone Age’s Josh Homme (who co-produced Humbug) with limp interpretations of stoner rock and cactus blues, he’s only a ginger and can’t hurt you.
4/5
Showing posts with label music review. Show all posts
Showing posts with label music review. Show all posts
Friday, 17 June 2011
Sunday, 17 April 2011
"Angles" - The Strokes (album review)
It’s always nice when a song comes along that hits so many giddy nerves in your body that it makes you whistle and skip from the breakfast table right through to your midnight cereal raid… and it just so happens that “Under Cover Of Darkness” on The Strokes’ fourth album Angles is one of those tunes. In fact it’s so riff-tastic and catchy that you almost curse yourself for not coming up with the idea first.
Thankfully though this isn’t the only gem on the band’s long awaited (and much feared by this reviewer) follow-up to the deeply flawed First Impressions Of Earth which frontman Julian Casablancas managed to spoil almost single-handedly with a collection of vocal melodies which plunged to the very nadir of songwriting craft. Angles, predictably much like it’s title, has a few new angles to it, but the resulting record is neither confused nor rambling… it’s also mercifully shorter than it’s overlong predecessor.
From the colourful opener Machu Picchu onwards it’s clear that The Strokes have finally remembered how to infuse a bit of sunlight and fun into their garage rock groove and have brushed away the cobwebs of the past to march ahead to a more promising, productive and artistically valid future.
There are some lovely 80s flavours to the album, so much so in fact that on tracks like “Two Kinds Of Happiness” and “Games” you half expect Cyndi Lauper to make a guest appearance and wink cheekily through your speakers with a mouth full of bubblegum.
Elsewhere there are more earnest experiments into Radiohead-style alt-rock that thankfully aren’t left field enough to spoil the flow of the record and end up being entertaining in their own right. For those yearning for a reminder of their first two albums then “Taken For A Fool” comes with a lush chorus that must’ve been picked straight up off the cutting room (on fire) floor.
Angles is certainly one of the better albums to appear during this guitar-rock lull and the shoulder pad inducing synths are mixed well with the band’s familiar retro sound.
Give it a go… it’s a very rewarding “grower”.
4/5
Thankfully though this isn’t the only gem on the band’s long awaited (and much feared by this reviewer) follow-up to the deeply flawed First Impressions Of Earth which frontman Julian Casablancas managed to spoil almost single-handedly with a collection of vocal melodies which plunged to the very nadir of songwriting craft. Angles, predictably much like it’s title, has a few new angles to it, but the resulting record is neither confused nor rambling… it’s also mercifully shorter than it’s overlong predecessor.
From the colourful opener Machu Picchu onwards it’s clear that The Strokes have finally remembered how to infuse a bit of sunlight and fun into their garage rock groove and have brushed away the cobwebs of the past to march ahead to a more promising, productive and artistically valid future.
There are some lovely 80s flavours to the album, so much so in fact that on tracks like “Two Kinds Of Happiness” and “Games” you half expect Cyndi Lauper to make a guest appearance and wink cheekily through your speakers with a mouth full of bubblegum.
Elsewhere there are more earnest experiments into Radiohead-style alt-rock that thankfully aren’t left field enough to spoil the flow of the record and end up being entertaining in their own right. For those yearning for a reminder of their first two albums then “Taken For A Fool” comes with a lush chorus that must’ve been picked straight up off the cutting room (on fire) floor.
Angles is certainly one of the better albums to appear during this guitar-rock lull and the shoulder pad inducing synths are mixed well with the band’s familiar retro sound.
Give it a go… it’s a very rewarding “grower”.
4/5
Sunday, 2 January 2011
The Physical Graffiti On Houses Of The Holy
In my relatively fresh history of enjoying Led Zeppelin I’ve found it difficult to acquire a fondness for their fifth and sixth albums, Houses of the Holy and Physical Graffiti.
I guess it doesn’t help that Houses of the Holy is rife with questionable genre experimentations and a self-indulgent overall theme of how big and successful Led Zeppelin were at the time (the title referring to the enormous stadiums they were regularly playing in and the song The Ocean named after the sea of fans that the band would observe from the stage every night), while double album Physical Graffiti is sprinkled liberally with studio outtakes from previous records that only serve to undermine the album’s flow and consistency.
So, a niggling doubt and theory in my mind grew and blossomed into something rather revelatory: if the title track from Houses of the Holy was left off that record for artistic reasons and added, rather clumsily, to Physical Graffiti… what would happen if it was moved back? In fact, what would happen if you removed all the tracks that weren’t recorded specifically for Physical Graffiti and ditch all but the three intended for Houses of the Holy (The Rover, Houses Of The Holy, Black Country Woman) and put them back where they belonged in place of the three songs (The Crunge, Dancing Days, D’yer Mak’er) that really don’t seem to work on that album?
Well, you have two slightly better albums, that’s what…
Houses of The Holy:
As well as just replacing three songs on Houses of the Holy I had a play around with the tracklist to make it more engaging… pushing the dreamy and beautiful The Rain Song closer to the end where it feels better served and bringing the haunting and strangely ahead-of-it’s-time No Quarter forward to give the middle of the album more power and gravitas. I also keep The Rover as the second track on the album (as it appeared on Physical Graffiti) and try to keep alive the Led Zeppelin tradition of finishing things off with a rootsy stomp with Black Country Woman.
Here’s my “Special Edition” of the album:
1. The Song Remains The Same
2. The Rover
3. Over The Hills And Far Away
4. No Quarter
5. The Ocean
6. Houses Of The Holy
7. The Rain Song
8. Black Country Woman
Physical Graffiti:
The sleeker version of Physical Graffiti has a faster pace, a heightened intensity and a significant musical consistency that the standard Physical Graffiti lacks. The things that bothered me about the album before just don’t stand out so much anymore…. basically the songs sound like they belong together and the “filler” has been trimmed. I understand that just because an album is shorter it does not always mean it will feel shorter, however the original extra seven tracks just seemed to weigh the whole thing down to the point that sometimes, when I played it, the album felt like it was wheezing on the floor.
Here’s how my shortened and preferred version runs:
1. Custard Pie
2. In My Time Of Dying
3. Trampled Under Foot
4. Kashmir
5. In The Light
6. Ten Years Gone
7. The Wanton Song
8. Sick Again
I often feel guilty when I tamper with the intended flow of an album (no matter how much I disagree with it), but in this instance it just feels right.
Give it a go, it’s interesting and fun.
I guess it doesn’t help that Houses of the Holy is rife with questionable genre experimentations and a self-indulgent overall theme of how big and successful Led Zeppelin were at the time (the title referring to the enormous stadiums they were regularly playing in and the song The Ocean named after the sea of fans that the band would observe from the stage every night), while double album Physical Graffiti is sprinkled liberally with studio outtakes from previous records that only serve to undermine the album’s flow and consistency.
So, a niggling doubt and theory in my mind grew and blossomed into something rather revelatory: if the title track from Houses of the Holy was left off that record for artistic reasons and added, rather clumsily, to Physical Graffiti… what would happen if it was moved back? In fact, what would happen if you removed all the tracks that weren’t recorded specifically for Physical Graffiti and ditch all but the three intended for Houses of the Holy (The Rover, Houses Of The Holy, Black Country Woman) and put them back where they belonged in place of the three songs (The Crunge, Dancing Days, D’yer Mak’er) that really don’t seem to work on that album?
Well, you have two slightly better albums, that’s what…
Houses of The Holy:
As well as just replacing three songs on Houses of the Holy I had a play around with the tracklist to make it more engaging… pushing the dreamy and beautiful The Rain Song closer to the end where it feels better served and bringing the haunting and strangely ahead-of-it’s-time No Quarter forward to give the middle of the album more power and gravitas. I also keep The Rover as the second track on the album (as it appeared on Physical Graffiti) and try to keep alive the Led Zeppelin tradition of finishing things off with a rootsy stomp with Black Country Woman.
Here’s my “Special Edition” of the album:
1. The Song Remains The Same
2. The Rover
3. Over The Hills And Far Away
4. No Quarter
5. The Ocean
6. Houses Of The Holy
7. The Rain Song
8. Black Country Woman
Physical Graffiti:
The sleeker version of Physical Graffiti has a faster pace, a heightened intensity and a significant musical consistency that the standard Physical Graffiti lacks. The things that bothered me about the album before just don’t stand out so much anymore…. basically the songs sound like they belong together and the “filler” has been trimmed. I understand that just because an album is shorter it does not always mean it will feel shorter, however the original extra seven tracks just seemed to weigh the whole thing down to the point that sometimes, when I played it, the album felt like it was wheezing on the floor.
Here’s how my shortened and preferred version runs:
1. Custard Pie
2. In My Time Of Dying
3. Trampled Under Foot
4. Kashmir
5. In The Light
6. Ten Years Gone
7. The Wanton Song
8. Sick Again
I often feel guilty when I tamper with the intended flow of an album (no matter how much I disagree with it), but in this instance it just feels right.
Give it a go, it’s interesting and fun.
Sunday, 30 May 2010
Collected thoughts on Guided By Voices
I’m obsessed with GBV now.
I can’t work out whether it’s the vocals, the melodies, the lo-fi production or the energy and spirit that leaks out of every single song that’s captured me.
I love the confidence they had to just put out EVERYTHING. That even a track consisting of just a discarded bass line has made it to one record. Now that’s brave. I could never “rate” one of their albums like I would with another band as they seem to defy criticism. Part of the aesthetic and art of what they do is to put you on a rollercoaster of musical experiments… the fact that they fail is often why they work. It’s all part of the experience.
Some of the melodies feel like a throwback to a Beatles style simplicity which is quite endearing. Then they’ll chuck in a disturbing and hypnotic experiment which throws you off track.
I think Robert Pollard has the most perfect rock voice, I could listen to him just reading the phone book (actually that might appear on one album, lol). There’s a demo track where he introduces it and his lovely smooth Ohio drawl is just so yummy. It’s suck a nice moment as he laments “I’m not sure what’ll happen with this, but…” and then cracks on with singing it. Very nice.
I sometimes sit their listening to them wondering if it’s all just nonsense and I’m a fool for loving it so much. Are they just a crap pub band who got lucky or cult genius’ who will never get the mainstream recognition they deserve?
Probably a bit of both.
There’s just so much of it to listen to, so many albums, so many rarities collections. I’ve been listening to them for two years now and I’ve still only bought half their output… and I’ve got seven albums and a four disc rarities box set (the first of three).
That said, the fairly consistent set of original floating band members dissolved after their ninth album Under The Bushes Under The Stars and unofficial (and now seemingly rare) fanclub-only album Tonics & Twisted Chasers. After these releases the Guided By Voices brand seemed to lose it’s grounding and Robert Pollard even had the new line-up go into a proper studio with an experienced producer to record Do The Collapse where Teenage FBI features.
They recorded Under The Bushes Under The Stars in professional studios but those results sound a little more pure and retain the rough edge that makes them so interesting. Do The Collapse sounds like an eerily well produced thing with big silences and clean audio tracks. GBV albums are usually full of mistakes and atmospheric hissings and the sound of band members stumbling about the place drunk, lol. It’s a very weird listen, far too clean shaven for me.
I think Bob took the soul of GBV into his solo work which began after the old line-up said goodbye, so I might follow that instead. I’ve still got two Suitcase boxsets to chase up though, so my journey isn’t over yet… I hope.
I’m a geek for it all. But I know one day I’ll pass through it and move on, I’m not looking forward to that day.
I can’t work out whether it’s the vocals, the melodies, the lo-fi production or the energy and spirit that leaks out of every single song that’s captured me.
I love the confidence they had to just put out EVERYTHING. That even a track consisting of just a discarded bass line has made it to one record. Now that’s brave. I could never “rate” one of their albums like I would with another band as they seem to defy criticism. Part of the aesthetic and art of what they do is to put you on a rollercoaster of musical experiments… the fact that they fail is often why they work. It’s all part of the experience.
Some of the melodies feel like a throwback to a Beatles style simplicity which is quite endearing. Then they’ll chuck in a disturbing and hypnotic experiment which throws you off track.
I think Robert Pollard has the most perfect rock voice, I could listen to him just reading the phone book (actually that might appear on one album, lol). There’s a demo track where he introduces it and his lovely smooth Ohio drawl is just so yummy. It’s suck a nice moment as he laments “I’m not sure what’ll happen with this, but…” and then cracks on with singing it. Very nice.
I sometimes sit their listening to them wondering if it’s all just nonsense and I’m a fool for loving it so much. Are they just a crap pub band who got lucky or cult genius’ who will never get the mainstream recognition they deserve?
Probably a bit of both.
There’s just so much of it to listen to, so many albums, so many rarities collections. I’ve been listening to them for two years now and I’ve still only bought half their output… and I’ve got seven albums and a four disc rarities box set (the first of three).
That said, the fairly consistent set of original floating band members dissolved after their ninth album Under The Bushes Under The Stars and unofficial (and now seemingly rare) fanclub-only album Tonics & Twisted Chasers. After these releases the Guided By Voices brand seemed to lose it’s grounding and Robert Pollard even had the new line-up go into a proper studio with an experienced producer to record Do The Collapse where Teenage FBI features.
They recorded Under The Bushes Under The Stars in professional studios but those results sound a little more pure and retain the rough edge that makes them so interesting. Do The Collapse sounds like an eerily well produced thing with big silences and clean audio tracks. GBV albums are usually full of mistakes and atmospheric hissings and the sound of band members stumbling about the place drunk, lol. It’s a very weird listen, far too clean shaven for me.
I think Bob took the soul of GBV into his solo work which began after the old line-up said goodbye, so I might follow that instead. I’ve still got two Suitcase boxsets to chase up though, so my journey isn’t over yet… I hope.
I’m a geek for it all. But I know one day I’ll pass through it and move on, I’m not looking forward to that day.
Sunday, 16 May 2010
On the "Nebraska" cutting-room floor
I’ve been struggling with Bruce Springsteen for a while now. I think it’s because the sound of the E Street Band and him together is quite campy and a little too “big band” for my tastes. His great early works almost seem to have the flavour of Broadway musicals. I think that’s how I shall approach them from now on: as pieces of pure theatre rather than rock and roll. A bit like Rufus Wainwright, who I adore.
Anyway, the one Springsteen album I have really warmed to is “Nebraska” which is stripped down acoustic fare. It’s an immensely beautiful album and undeniably powerful in it’s simplicity. Well I read that a demo of “Born In The USA” had been recorded at the same time as the other “Nebraska” tracks and in the same style. So I went looking for it.
On Springsteen’s b-sides and rarities collection “Tracks” is this acoustic “Born In The USA” and what a gem it is. Shorn of it’s later keyboard and gruff ugliness, this acoustic (although there is a little electric guitar in there too) demo is simply another beast altogether. A lot more dignified than the album/single version (that we all know) would come to be.
Marvellous...
Anyway, the one Springsteen album I have really warmed to is “Nebraska” which is stripped down acoustic fare. It’s an immensely beautiful album and undeniably powerful in it’s simplicity. Well I read that a demo of “Born In The USA” had been recorded at the same time as the other “Nebraska” tracks and in the same style. So I went looking for it.
On Springsteen’s b-sides and rarities collection “Tracks” is this acoustic “Born In The USA” and what a gem it is. Shorn of it’s later keyboard and gruff ugliness, this acoustic (although there is a little electric guitar in there too) demo is simply another beast altogether. A lot more dignified than the album/single version (that we all know) would come to be.
Marvellous...
Wednesday, 5 May 2010
"Radio Wars" alternate version
I’ve been working on an alternate tracklisting for the Howling Bells’ second album “Radio Wars” for a while and I think I’ve finally settled on a running order.
When I first bought the album my reaction was mixed and I felt that there was a stronger, more coherent work hidden beneath a confused tracklist.
The original was:
Treasure Hunt
Cities Burning Down
It Ain't You
Nightingale
Let's Be Kids
Ms. Bell's Song
Radio Wars Theme
Golden Web
Into the Chaos
Digital Hearts
How Long
To LA (bonus extra track)
I felt that there were some weak songs that could do with being removed and some challenging songs that languished unfairly towards the end of the record. My gut instinct told me that “Radio Wars” was a little “top heavy” and that the subtle science fiction concept could be brought to the foreground with the following tracklist:
Radio Wars Theme
Treasure Hunt
To LA
It Ain’t You
How Long
Digital Hearts
Nightingale
Breaking My Back
Cities Burning Down
Into The Chaos
Ms. Bell’s Song
When I initially moved To LA to the first half of the album I didn’t realise it was meant as a “hidden track” and thought it was part of the official running order, but I’ve warmed to it as part of the piece.
When I first bought the album my reaction was mixed and I felt that there was a stronger, more coherent work hidden beneath a confused tracklist.
The original was:
Treasure Hunt
Cities Burning Down
It Ain't You
Nightingale
Let's Be Kids
Ms. Bell's Song
Radio Wars Theme
Golden Web
Into the Chaos
Digital Hearts
How Long
To LA (bonus extra track)
I felt that there were some weak songs that could do with being removed and some challenging songs that languished unfairly towards the end of the record. My gut instinct told me that “Radio Wars” was a little “top heavy” and that the subtle science fiction concept could be brought to the foreground with the following tracklist:
Radio Wars Theme
Treasure Hunt
To LA
It Ain’t You
How Long
Digital Hearts
Nightingale
Breaking My Back
Cities Burning Down
Into The Chaos
Ms. Bell’s Song
When I initially moved To LA to the first half of the album I didn’t realise it was meant as a “hidden track” and thought it was part of the official running order, but I’ve warmed to it as part of the piece.
Friday, 23 April 2010
Rolling Stone Magazine website
Well I was wondering why the Rolling Stone Magazine website didn’t seem to be working anymore….
[from Wikipedia] “Recently it was announced that the Rolling Stone website would adopt the view by subscription model, charging for content.”
….I guess that’s another link to delete off my Favourites, sigh.
It was a very good site and the archive reviews gave a fascinating insight into the history of rock journalism, but I ain’t paying.
Well, maybe once I can afford it, lol.
They were very nice to provide such great content for free for so long.
Me sad now.
[from Wikipedia] “Recently it was announced that the Rolling Stone website would adopt the view by subscription model, charging for content.”
….I guess that’s another link to delete off my Favourites, sigh.
It was a very good site and the archive reviews gave a fascinating insight into the history of rock journalism, but I ain’t paying.
Well, maybe once I can afford it, lol.
They were very nice to provide such great content for free for so long.
Me sad now.
Saturday, 17 April 2010
Jonathan Richman & The Modern Lovers
So what do you do with a band that breaks up before it gets a chance to record it’s debut album? Who’s frontman has such an artistic change of heart before he realises he has a successful music career that the rest of the band decide to bugger off? Who’s early punky demo tapes are collected together post-break-up to form a seminal LP masterpiece?
I dunno, listen and enjoy them I guess :o)
The career of The Modern Lovers aka Jonathan Richman & The Modern lovers aka Jonathan Richman could be seen as one lacking in direction due to an ego-maniac of a frontman, but Jonathan Richman is a wide-eyed, childlike, gentle-giant sort who’s voice makes him sound like a cool indie rocker but who’s heart yearns for softer acoustic melodies and a peaceful existence.
The excitement of youth may have caused him to make an initial wrong step, but luckily for us that wrong step just happened to be amazing. The not-a-debut-album debut album is a fantastic Velvet Underground/The Stooges flavoured new-wave/punk classic and I’m loving the live album that I’ve found on Spotify too.
I’m not sure if I’ll get into Jonathan Richman’s Spanish styled acoustic "solo" stuff (was there ever really a band?), but I’m becoming more and more fascinated by the man: a bundle of contradictions who nobody seems to be able to define.
Here are some nice interviews with him that really reveal the sort of warm person he is:
http://www.youtube.com/watch?v=YJG4bQxVIHM
http://www.youtube.com/watch?v=o7mHg0H6sy8
A few music clips:
http://www.youtube.com/watch?v=TDJShMk-r88
http://www.youtube.com/watch?v=sJUY3q3xaWY
http://www.youtube.com/watch?v=XjFU98mEem4
Very inspiring stuff :o)
I dunno, listen and enjoy them I guess :o)
The career of The Modern Lovers aka Jonathan Richman & The Modern lovers aka Jonathan Richman could be seen as one lacking in direction due to an ego-maniac of a frontman, but Jonathan Richman is a wide-eyed, childlike, gentle-giant sort who’s voice makes him sound like a cool indie rocker but who’s heart yearns for softer acoustic melodies and a peaceful existence.
The excitement of youth may have caused him to make an initial wrong step, but luckily for us that wrong step just happened to be amazing. The not-a-debut-album debut album is a fantastic Velvet Underground/The Stooges flavoured new-wave/punk classic and I’m loving the live album that I’ve found on Spotify too.
I’m not sure if I’ll get into Jonathan Richman’s Spanish styled acoustic "solo" stuff (was there ever really a band?), but I’m becoming more and more fascinated by the man: a bundle of contradictions who nobody seems to be able to define.
Here are some nice interviews with him that really reveal the sort of warm person he is:
http://www.youtube.com/watch?v=YJG4bQxVIHM
http://www.youtube.com/watch?v=o7mHg0H6sy8
A few music clips:
http://www.youtube.com/watch?v=TDJShMk-r88
http://www.youtube.com/watch?v=sJUY3q3xaWY
http://www.youtube.com/watch?v=XjFU98mEem4
Very inspiring stuff :o)
Thursday, 1 April 2010
"Humbug" - Arctic Monkeys
Eeee, something approaching a proper review from me at last....
----
Who would have guessed that the gothic-tinged “Perhaps Vampires Is A Bit Strong But” from the Arctic Monkeys’ debut album would light the way for their eventual artistic embodiment. It was a song that stood out amidst a collection of urban breast-beaters and hinted at an already keen sense of moving-on…. after all, whilst we’re guessing what’ll be the next single from their recent album they’re already firing off demos of their next dozen.
Humbug is an album for lovers of a good old croon. Down go the frenzied twin guitar riffs and up go the atmospherics. Alex Turner spends much of the album with the microphone in his hand rather than a white Stratocaster and smoothly draws the listener into a world of basement bars and velvet lounges. Had the album closed with a cover of “My Way” then not many punters would be left feeling short-changed.
The corrosive scent of unrequited dance-floor lust and domestic violence that flavoured their first two albums becomes a sour mist of seedy encounters with black-market poison merchants and dominating sex fiends. The band has flung aside their modesty and embraced a more primal side….. surely not the actions of a bunch of meek indie chancers?
Humbug won’t hot your heels on the way to work, but it’ll make a good accompaniment to a rainy night on the sofa with a glass of scotch.
You said it, Frankie.
----
Who would have guessed that the gothic-tinged “Perhaps Vampires Is A Bit Strong But” from the Arctic Monkeys’ debut album would light the way for their eventual artistic embodiment. It was a song that stood out amidst a collection of urban breast-beaters and hinted at an already keen sense of moving-on…. after all, whilst we’re guessing what’ll be the next single from their recent album they’re already firing off demos of their next dozen.
Humbug is an album for lovers of a good old croon. Down go the frenzied twin guitar riffs and up go the atmospherics. Alex Turner spends much of the album with the microphone in his hand rather than a white Stratocaster and smoothly draws the listener into a world of basement bars and velvet lounges. Had the album closed with a cover of “My Way” then not many punters would be left feeling short-changed.
The corrosive scent of unrequited dance-floor lust and domestic violence that flavoured their first two albums becomes a sour mist of seedy encounters with black-market poison merchants and dominating sex fiends. The band has flung aside their modesty and embraced a more primal side….. surely not the actions of a bunch of meek indie chancers?
Humbug won’t hot your heels on the way to work, but it’ll make a good accompaniment to a rainy night on the sofa with a glass of scotch.
You said it, Frankie.
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