Oh, New Years. Last year I’m pretty sure I made the resolution to keep up with my blog, and that went fantastically unwell. So I’ll make the same resolution this year, but honestly, I can’t promise anything cause I’m taking 18 hours next semester (because obviously I must love stressing myself out).
Honestly, this post was originally going to be about Oasis. I’ve been feeling hella nostalgic for the 90s lately and sometimes when I need a good cry I listen to “Champaign Supernova” and just eat my feelings. But plans change, and I decided to write about The Last Shadow Puppets instead, because 2016 is the year of their return and I’ve been a little obsessed with The Age of the Understatement lately.
I’ve literally been working on this post for like a week now. It was tough to write
so cut me some slack on this one.
Album: The Age of the Understatement
Artist: The Last Shadow Puppets
The Last Shadow Puppets are undoubtedly one of my favorite supergroups — if you can call them that. The project is something Arctic Monkey’s Alex Turner and his bestie Miles Kane (of The Little Flames at the time) threw together after both bands toured together in 2007. While both of them are members of successful groups, I have a hard time classifying TLSP as a supergroup honestly. I just don’t think of them like I do, say, Them Crooked Vultures. I sort of like to imagine Turner and Kane are just BFFs who like to rock out together — sort of like me and my bestie, if we had musical talent.
While Turner and Kane initially started writing for the project in 2007 while touring together, the project didn’t really come together until 2008. Most of The Age of the Understatement was recorded with producer/drummer James Ford at Blackbox Studios in France, and with the help of Final Fantasy (AKA Owen Pallett) and the London Metropolitan Orchestra, the album became the best compilation of music you didn’t realize you need in your life.
The Age of the Understatement dropped in April of 2008 on Domino Records and the band embarked on a brief tour. A few shows were played with a 16 piece orchestra, which is just hella cool. The project has such a unique sound — like James Bond come to life — and seeing them with an orchestra would just be magical.
Speaking of the sound though, the duo list their main influences as Scott Walker (the musician, not the politician) and early Bowie, but the cunning lyrics found on the album are obviously influenced by John Lennon and several other late 60s artists as well. Ultimately, the album comes together to sounds like something you’d hear in a spy movie. The sweeping strings coupled with that 60s rock band sounds remind you of secret agents, long dresses, big jewelry — the kind of glamour and suave style that you’d find in a 60s film. It takes you on an adventure to another place, but as Heather Phares put it in her review, the album doesn’t overstay its welcome. Most of the tracks on the album fall short of the three-minute mark and it ultimately makes for a short listen.
To start, The Age of the Understatement kicks off with its title track. There’s a kind of urgency to the album — it begins with a fierce tympani roll and the forceful vocals you’d expect from Alex Turner. But the whole album isn’t like that, though it maintains its rigor. The album lightens up with “Standing Next To Me,” but the sweeping “Calm Like You” reminds the listener of just how awesome Alex Turner is at his vocals. Lines like “Accidents and toffee drops/And thinking on the train,” keep the 60s dream alive with the addition of a great horn section, and Turner handles the vast chorus like it’s nothing.
And let’s just be honest for a moment here. Sam Smith, you can step aside. TLSP would school you in a 007-off any day, despite having never actually written a Bond theme. In fact, the ever so suave “My Mistakes Were Made For You” could probably even hold its own against Adele (blaspheme, I know). The elusive femme fatale that seems to haunt many of the songs on the album seems like she would fit in perfectly as a Bond Girl. As Turner sings “And in the backroom of a bad dream she came/and whisked me away enthused,” you can just imagine the type of girl she is. Lines like “And it, the fame that put words in her mouth/She couldn’t help but spit them out/Innocence and arrogance entwined, in the filthiest of minds” only add to the picture. Add in a few harmon mutes, toss in the strings, throw in a key change. It’s all there: the perfect Bond theme.
Admittedly, some tracks such as “Separate And Ever Deadly” and “I Don’t Like You Anymore” sound like something the Arctic Monkeys might play, but The Last Shadow Puppets manage to separate themselves from the other members’ separate projects. The album manages to keep up it’s tempo but varies stylistically in a way that keeps everything interesting. In short, it’s a work of art.
No wonder everyone is so excited for their return. They’ve only been teasing us for 8 years now.
I’ll attach a video below for those who are interested in the band. Until next time (because who knows when that will be), keep listening. And watch out for The Last Shadow Puppets’ new album, coming soon!
Honorable Mentions: The Chamber, Black Plant, The Meeting Place (or just Meeting Place, depending on where you live), Time Has Come Again (or The Time Has Come Again, depending on where you live)
*This post contains a link to Heather Phares’ review of the album, found on AllMusic.com