Arctic Monkeys

Week 6: the Last Dinner Party- Prelude to Ecstasy

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Once again, this is another cliché. I found this band via Later…with Jools Holland, where they performed ‘Nothing Matters’ and ‘ My Lady of Mercy’. From there, I scoured YouTube, looking for information about them. I came across a review of one of their tracks, plus a little background on them by The Darkness frontman Justin Hawkins. He does a review show on there called Justin Hawkins Rides Again. It has become so popular that he is taking it out on the road. I was highly impressed with his knowledge of every tone in the track. He also mentioned that the band are rumoured to be “industry plants”. Now, if they are, who cares? You can tell they are highly talented, so they would inevitably break through regardless. This rumour is circulating because the band had minimal performances before being signed. Skunk Anansie must have been “industry plants” if that’s the case. They were signed after four gigs. That’s how ridiculous this rumour is for me. I am sure Skunk Anansie was in the right place at the right time. The other suspicions are that they also signed to the prestigious Island Records, have over 30 million streams for ‘Nothing Matters’ on Spotify, and have had this album produced by James Ford, who has recently worked with Blur, Kylie Minogue, and Arctic Monkeys on their current records.

So, a little background on the band: They are from London. An all-female rock band (I beg to differ on rock.)consisting of Abigail Morris (Leading vocalist), Lizzie Mayland (Backing vocalist, guitarist, flautist), Emily Roberts (Guitarist, backing vocalist, flautist, mandolin), Georgia Davies (Bassist, backing vocalist), and Aurora Nishevci (Backing vocalist, organist, synthesiser, conductor, string arranger). I believe they also met at university, which is another reason people are suspicious of their rise. Fuck knows what that has to do with it. I like the name of the album, and I found the cover art quite eye-catching. The name might have a negative impact because it mentions a specific substance that also has taken its name from a form of joy. As everyone knows, I detest preludes/interludes, but there was a certain magic to them this time. There are two interludes. The title track and ‘Gjuha’, with the latter coming in just after the halfway point. Both tracks feature incredible vocal harmonies over what can only be described as booming classical music. From the reading, there is no clear indication that an orchestra was used, but it sounded like one in the prelude/interlude. You must admire the sheer audacity of using such music when this album was released in the mainstream. From this, you can tell that the ladies do not want to conform.

The band reminds me of a cross between Florence and the Machine and Elastica. Because of their sound, but also, Abigail sounds similar to Justine Frischmann. Talking of Abigail, her best vocal performance is ‘On Your Side’. However, that doesn’t take away from the other tracks. She is an outstanding vocalist.

The highlight has to be ‘Caesar on a TV Screen’. It changes throughout with different genres and tempos. Quite a lot of the tracks stop suddenly, but after half a minute, they come back in with frantic tempos, usually classical or a stabbing piano. The title of the record is quite apt. There are many moments of ecstasy. I was left highly impressed. It is pretty hard to believe that this is only a debut album.

Song recommendations: ‘Caesar on a TV Screen’, ‘On Your Side’, ‘My Lady of Mercy’

8/10

Week 10: the Lathums- From Nothing to a Little Bit More

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After the success of their debut album, it was always going to be a complex task to make the second record just as good or better than the debut. So many have yet to live up to the expectations of their debut because they gave everything to ensure they would spark instant attention, so they appear to fall short either through sheer panic or loss of creativity. Unfortunately, if the second album is a miss, the attention seems to dwindle, and you fall down the pecking order on the festival bill. After “How Beautiful Life Can Be”, could “From Nothing to a Little Bit More” live up to the expectations the fans and listeners demanded?

Well, although the album is more in-your-face this time. There is still that formula the band used from the debut. The biggest shock, despite being signed to his label, is the band hasn’t brought in the Coral’s James Kelly on production and opted for Jim Abiss, who produced the Artic Monkeys record “Whatever People Say I am, That’s What I’m Not” and of course “19” and “21” by Adele. As you can see from the albums mentioned that Jim has a good track record of producing brilliant records. The opener ‘the Struggle’ further proves Jim’s pedigree.

The song is about a relationship split, where once again, just like he did on the reflective tracks on the debut, Alex Moore bares his soul. It may be a slow song, but the tempo goes up in the chorus fit for the arenas and festivals they will be playing in shortly. A few fans think this is when Alex is at his best.

Four teasers were released before the album, and the consensus appears that the former is the best. However, I beg to differ. ‘Sad Face Baby’ sounds similar to the Stereophonics and a bombastic chorus where Alex belts it out. The same goes for ‘Say My Name’. Yes, reflective songs are good from time to time, but it is the energetic ones that get the crowd going, like the two mentioned above. 

You would have noticed upon listening that the album is packed with attitude and full-on rock. Still, as with any record and during live performances, the tempo inevitably drops to settle everyone down. ‘I Know Pt 1’ is a slow-tempo track with a plodding soft electric guitar, which reminded me of 50 rock or ‘Unchained Melody’ by the Righteous Brothers. It surprised me because I wasn’t expecting a band full of 20-somethings to use that concept. Many would struggle to know who Buddy Holly is, yet alone be able to know the kind of melodies adopted in that era. Then another slow one is ‘Lucky Bean’, and I could hear ‘Rotterdam’ by the Beautiful South.

Their albums are pretty balanced in their career so far. The attitude and reflective tracks share them. I do not see any issue with this, but some out there would rather have a record packed with energy and less reflective moments. It could be what the band is known for when they go into the studio. As long as it makes a live performance flow, who cares? 

It was a surprise when fan favourite ‘Crying Out’ didn’t make it on the debut, and it is even more of a surprise that the band included it on this album when the four-year-old song was not considered good enough before. The track in question is part acoustic, part electric. The song begins with Alex singing softly over an acoustic guitar before the song explodes, with Alex screaming out the vocals to match the tempo. Because the fans class it as their favourite, and it was well received on the ‘How Beautiful Life Can Be’ tour, I imagine the band only felt it was right to include it on their second record.

Alex’s songwriting has improved since the debut, evident on the closer ‘Undeserving’, their ‘Champagne Supernova’ moment. The song is eight minutes. I prefer this to the debut. The songwriting is better, and the overall production will be brilliant when they promote on the road.

9/10

Song recommendations: ‘Sad Face Baby, ‘Lucky Bean’, ‘Crying out’

Week 4: the Reytons- What’s Rock n Roll?

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I fucking think it is fucking brilliant what the band have achieved without any label behind them and how it has now changed the landscape of music. RAYE is also releasing her debut album, “21st Century Blues”, next week after leaving her label, which gave her nothing but grief, and releasing it independently after just over a decade of waiting. Funnily enough, the band’s motto is “No backing, no label, all Reytons”. Of course, off the back of the success of the record, through social media postings and gigging, they are now signed. 

I vaguely knew who the band from Yorkshire was before I found out they were heading for the top of the chart. I am switched on to Indie UK and Irish twitter. I have discovered artists/bands like Fontaines DC, the Lathums, the Great Leslie, Forgotten Door, Skylights, Citylightz, Rianne Downey, and the Reytons. I must confess that I had yet to listen to any of the band’s tracks before discovering their album on their YouTube account. What struck me almost immediately was how much frontman Jonny Yerrell sounds like a young Alex Turner. Their wall of sound reminded me of the Arctic Monkeys in their early days. A very raw and in-your-face sound. Nothing polished, clean or sounding like the last two records by the Arctics.

I remember watching a documentary asking, “is Guitar Music Dead?” featuring Noel Gallagher, among others. Noel said it was, as well as Paul Weller, but Jehnny Beth from the Savages strongly disagreed. The music that has hit the top of the album chart since 2020 proves that guitar music is still alive. When you think about it, many genres use the guitar in their production, so it will never fade out, far less die. 

The Reytons are proving again with their second album and bringing back the type of indie which made you jump around and belt out songs like a soul possessed. I found out, upon research, that their name is the Yorkshire dialect for “right ones”. As I mentioned earlier, Jonny sounds like a young Alex Turner and even had the sarcasm to boot. The rest of the band played at 100 miles an hour, which, apart from the Arctics, could be compared to the Libertines in their prime. You will certainly enjoy yourself at their gigs, which will be explosive and over before you get a chance to catch your breath. The choruses are from another world, too. Catchy and full of energy, which will see a crowd surge towards the front barrier.

I can honestly say I fucking loved this album. The energy, the swagger, the conscious lyrics, the grandiose choruses, and just like their gigs, it is an explosive record that is over before you have realised. A fucking superb record. Truly outstanding.

Song recommendations: ‘Avalanche’, ‘Little Bastards’, ‘Cash in Hand & Fake IDs’

8/10

Week 15: the Snuts- W.L.

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This band from Scotland (West Lothian, to be precise)was first brought to my attention by several of my followers talking about them, but only since 2017, even though the band formed two years before that. The more I kept hearing about them and seeing them appear in regular new talent polls on Twitter, the more I got curious. I eventually gave them a listen and was highly impressed with their rock sound. 

Social media can be a potent tool in the music world these days. The Snuts were getting talked about ages before this debut album was in the offing. They were getting a reputation for their gigs and the demos they released. Bizarrely, thanks to that reputation, they were already playing out at significant festivals like TRNSMT, Reading and Leeds, and SXSW. They have also supported the Libertines, among others. Last year, they released their EP “the Matador”, which gained them a top 20 spot in the album charts—already encouraging signs from the Lads from Whitburn to fare well when the record finally did drop.

The producer used on “W.L.” has a good reputation working with the likes of the legendary Beck and the French band Phoenix( Do you remember ‘1901’? Well, you should because it was played to death at every student union bar or Indie night). 

Tony Hoffer travelled to the Firepit in London to work with the band and refurbished their back catalogue to give those songs a more professional finish. There’s no disputing they were not good before, but they could turn those songs into something else with Tony on board. Jack Cochrane’s vocals are wonderfully showcased over the acoustic ‘Top Deck’, which opens the album. The band’s versatility is displayed as we go from indie to blues to hip-hop. Not forgetting rock n roll and punk.

‘No Place I’d Rather Go’ is a track with a swift change in direction from an acoustic ballad; it then turns into an uptempo track that sounds like the Beatles if they had the chance to use modern equipment. Because it was my introduction to the band, my personal favourite is ‘All Your Friends’. I love the punk attitude and Jack’s venomous vocals, which sound like Alex Turner and John Power combined. Indeed, the track itself is something Arctic Monkeys and Cast would do. It’s also magnificent when performed live.

I was very impressed with Tony’s reworking of ‘Glasgow’; it sounds a lot beefier than the original while not overpowering Jack’s emotional vocals. Tony still respects the original by not going overboard on the production. Boardwalk’ was another highlight for me on the record because I loved the songwriting with the melody flourishing into all-out rock. Of course, the album’s standard edition closes with their now-iconic encore closer, ‘Sing for Your Supper’. Again, I love the energy in this song, and I always have, but maybe because I’ve heard it countless times, I have become immune to it and don’t get all that excited when I listen to it now. However, I like a good story in my songs, and this one is no exception.

Not only is this album full of several genres inspired by who the band members listen to, but it’s like an audio version of an autobiography depicting life growing up as working-class kids in West Lothian(Forgive me, my Scottish friends, but I don’t know whether West Lothian is working class. I have read bits and pieces, but it’s all somewhat blurred)and having hopes and dreams of making it big with their music. It’s a fucking brilliant debut album, and with their arsenal of songs already in their possession, the second record will hopefully live up to expectations.

 It is great to see that all this stuff about guitar music is dead(Including you, Mr Weller)is a load of bollocks. The Snuts have proved that it still kicks like a drum and that the working-class lads and ladettes can still find their way through. Indeed, I can give you many examples of that. Fontaines DC, the Lathums, Riviera, Citylightz, the Crooks, Tom Smith, and Rianne Downey. I predict they will do an Oasis and have as much success with their second album. Trust me, the working class is fighting back, not just through grime or drill, as Weller said. Kids with guitars, indie rock, and punk persuasion are banging the doors down.

Song recommendations: “All Your Friends”, “Boardwalk”, “Glasgow”

9/10

Week Twelve: Niall Horan- Heartbreak Weather

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Of course, the lad from An Muileann gCearr (Mullingar) found fame after appearing on the X-Factor in 2010, where the band One Direction was put together (they finished third in that series.) and rapidly rose to be a world-renowned boy band. The band is no more at the moment, but that is a very grey area as the members are embarking on solo careers. Niall has remained grounded by all the success One Direction had and would prefer playing Oasis songs on his acoustic guitar and playing golf when taking a break from recording and touring.

If we are all being honest (Well, the Directioners, anyway.), no one was making any fuss about Niall’s solo career. The focus seemed to be on Harry Styles and initially Zayn Malik as well, but through this lack of expectation, Niall has been free from having a monkey on his back, and it seems to have worked as he is having a better solo career than the rest of his band mates. His debut album “Flicker” in 2017 went to the summit in three countries, including his native Ireland. 

As I listened to the opening track, which happens to be the album track, I was unsure if I could endure the ensuing forty-three minutes. It reminded me of the 1975, and if you know me well, I cannot stand that band. Despite the opener, you do have a range of tracks. “Black and White” sounds like One Direction, “Dear Patience,” and the closer “Still” are like ballads over acoustic guitars. “Arms of a Stranger” feels like a Lewis Capaldi piano ballad, and funnily enough, Lewis will be one of the support acts when the “Heartbreak Weather” tour begins in October (Well, maybe. With what’s going on in the world

at the moment, who knows?).

“Cross Your Mind” is a blend of the old with the new. I say this because the acoustic guitar reminds me of something Johnny Marr would have played in the Smiths. It probably is a sample of a Smiths song or a Johnny Marr song. When I heard it, it did sound very familiar. I was very excited to listen to the track after hearing that Johnny-esque intro, but then it went all modern and sounded like a typical pop song of late. It’s an utter shame, really, because a Johnny Marr-style song is what this record needed. Yes, Niall was trying to appeal to the Directioners as much as possible, but this lad is an indie rock fan. “Nice to Meet Ya” is where Niall chose to go all indie rock, though. Sounds very much like Arctic Monkeys infused with Kasabian. However, I think Niall is going to go down the synth route. 

I would like him to release something more to his taste as it’s risky and shows that he is not afraid to cause shock waves. The loudest ones in One Direction have had moderate solo success, but as they say, the quiet ones are to be watched. Even though Niall was quiet in the band, his actions speak louder than his words. I don’t mind listening to a whole One Direction album, but once a day is enough. The same goes for this record. If I was young enough to be in that generation, I might have got it more and be listening to it more than once a day. That being said, I like Niall and wish him every success. Why? Because he isn’t a dickhead and is more talented than the rest of the band. 7/10

Week Thirty-Five: Queens of the Stone Age- Villains

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Well, We all know from his time with Polly Jean Harvey co-fronting Desert Sessions that guitarist and frontman Josh Homme likes to dress snappily and sport a quiffed hairstyle ( He dressed similarly while being part of Iggy Pop’s band in recent years.) as well as adding a dance element to his sound, and that is what the seventh instalment by Queens of the Stone Age offers in abundance. A far cry, you might say, from songs like “No One Knows” and “the Lost Art of Keeping a Secret”.

You might recall that the band’s last record titled “Like Clockwork” included collaborations with several well-respected musicians, for example, Alex Turner from Arctic Monkeys (Josh coincidentally produced “AM” for Arctic Monkeys.), but this time there are no collaborations, but there is on the production of the record in the shape of Mark Ronson. 

Mark, as you may well know, has produced for the likes of Amy Winehouse and Bruno Mars (Actually, the list of artists he has produced for is fucking monumental. I would be here for ages writing it out.) and was singled out by Josh for “Villains” after he heard “Uptown Funk”, and Josh decided that was the kind of sound he wanted on the record.

I know what you’re thinking. Surely the hardcore fans of Queens of the Stone Age will recoil in horror at the fact that Mark, known for his catchy radio-friendly pop songs, is the producer of their latest record and will saturate their sound. 

Well, not really. Although Mark is on production, this is still the same rock band with attitude that caused a sandstorm as they made their way out of Palm Desert, California, in 1998 after renaming themselves as Queens of the Stone Age (Previously Gamma Ray.) with their self-titled debut album a mere two years after their formation. “Feet Don’t Fail Me” is proof of this. The track starts off with a moody sound for almost two minutes before bursting into vivid life. The moody intros also continue on tracks like “The Way You Used to Do” and “Head Like a Haunted House”, with the latter resembling glam-rock out of the 1970s that It sounds very much like something T-Rex would have done if they were still around today. There are also serene moments on the record, notably with “Hideaway” and “Fortress”, which you might say could be known as stoner rock, but don’t let that fool you. This is still a Queens of the Stone Age record that will make you move your feet and hips on the dance floor.

In a way, this record offers hope and defiance and celebrates all the great moments in life. Especially as you consider that Josh wrote this record after another band he is in called Eagles of Death Metal, was involved in a horrendous terror attack at Le Bataclan, Paris, France, back in 2015, just over a week after appearing on the newly resurrected 90s TV classic chat and music show, Thank Four It’s Friday (TFI Friday) in London, England (Josh was not present on tour at the time, I think due to feeling unwell.). He doesn’t directly address the terrible event on the record, but it does have a “Fuck the terrorists. We are going to live in the moment and have a fucking good time instead of hiding away and living in fear” feel to it. 

Josh has always maintained that he doesn’t like to get political, and the music is to escape from the real world, which is often dark. This record is the definition of that, and we are all here for a fucking good time, and we will embrace it no matter what. For that, I doff my cap to them for talking about the celebration of life. I know it could be seen as artificial, but now and again, we need records that will lift our spirits in such bleak times.

9/10