The Last Shadow Puppets - The Age of the Understatement
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Usually, most side projects are often simplified renditions of the artist's main project. The key word in that sentence is usually. However, every now and then, you come across a new side project that is elegantly more spread out and filled with great ideas. Thus is the case with The Last Shadow Puppets' (Alex Turner of Arctic Monkeys and Miles Kane of The Rascals) The Age of the Understatement. Their familiar brand of spunky and frenetic rock has taking a backseat to Puppets' cinematic and orchestral feel and ultimately, it's a winner.From the outset, the opener and title track is heavily influenced by movie and TV soundtracks. The song dips in and out of catchy melodies and rhythms before settling in. It's certainly a dramatic way to start an album; caught off hand, you'd think it was the new Muse album. A significant contributor is Final Fantasy/Arcade Fire/Beirut composer/arranger, Owen Pallett. Pallet not only composed and arranged all of the orchestral music and strings but he also conducted it. Paired with Turner and Kane's upbeat and beguiling music it equals an atmospheric sound that recalls many spaghetti westerns. The ending to "Black Plant" is a melancholy and somber coda filled with lush strings that have just the right amount of vibrato to give you the chills. The astonishing aspect of it all is just how well it's all meshed together. Producer James Ford does overtime as he is also the band's drummer and his down-scaled but energetic playing is another great addition. Songs like "Standing Next to Me" and "I Don't Like You Anymore" are down-tempo affairs. The melodies are drawn-out and the songs showcase several style and tempo changes. The latter features a tender section before Turner spouts and spews complaints for the last minute or so. The song is fittingly added with special touches from horror films and ghastly resonances.A wonderful highlight hits at the middle point with "My Mistakes Were Made For You." Channeling early Scott Walker and Leonard Cohen, Turner sings about a lost lover who brought out the worst in him. The music around him is gorgeously arranged, everything from flourishing strings to vibrant horns to a simple drum pattern aid in crafting a bitter piece of sadness. Turner sings, "And it's a lot to ask her not to sting and give/Her less than everything/Around your crooked conscience she will find" as the strings swell and grown to an intense climax around him. If that's not callous remembrance, I don't know what is.The last two songs are sweet and pleasant;...
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