Wednesday, June 22, 2011

Arctic Monkeys - Suck it and see: Alex Turner no one will cough

The world can be divided into three types of people according to how they are positioned with respect to Arctic Monkeys. The first group consists of the fans who stay with the group's first two albums, with his beardless and amphetamine compositions put them on the map with two albums that exuded power, immediacy and anger, but out of a context youth / teen, it could hardly convince anyone that exceeds thirty.

The second, composed mainly of the latter, or twentysomethings "advanced" to be pleasantly surprised with the Humbug, preferring arid rock, stoner, blunt, and heavier, concise and serious, without compromise. The third, more minority within this two-party system would be to listeners who can claim both steps without falling into fanaticism, enjoying the virtues of both sides of a coin without the temptation to promise eternal fidelity to the group, but simply by choosing different times for each disc and listening without complexes.

Moreover, this group may also have enjoyed the solo EP by Alex Turner, as a soundtrack for Submarine (prontito, critical), and the magnificent side project with Miles Kane Alex Turner called The Last Shadow Puppets. And undoubtedly the most enjoy this album will be (are) the third group.

Because, after repeated listening, I am assailed by the feeling that this album has a lot of short, retraining and pride. First, the disc provides several intimate moments and mostly melodic ('She's Thunderstorms', 'Black treacle', 'Reckless serenade', 'Love is a Laserquest' or that title track) that would fit seamlessly into these side projects (in fact, 'Waltz Piledriver' is fished Submarine) but were always present (Revisited 'Mardy Bum', 'Riot Van', '505 'or' Cornerstone ').

Second, we also have the imprint of the influence and Josh Homme production that contributed to his previous album and welcome bursts of "macho rock 'in' All my own stunts', 'Library pictures' or the two themes to this paragraph will and serves as an introduction to the disc. But hey, bridging the gap (and third) share the essence of many of the themes of Favourite worst nightmare, especially of the B-sides that accompanied the singles ('Brianstorm', 'Fluorescent Adolescent' and 'Teddy Picker' of that album ('If You Found This It's Probably Too Late', 'Plastic Tramp' and 'Nettles').

However, do not deny that is a record that needs to hear to appreciate the full extent. Basically because if you heard only these two presentation topics, the album is boring. You give the play thinking that you will find a rock without pause, and many times means your head feels have cheated, you could not have given two snacks, candy, and when you expect a nice assortment of goodies The dish consists of a salad.

Now, according to the flexibility of each listener, you can leave it parked, or giving opportunities. If bias or those negative thoughts do not keep your frustration, you realize that although a minority, these adrenaline and you feel good ruocanrol to a disk that may be too monotonous if you do not take into its tracklist.

The other but I can find is the superiority of the first half on the second disc, either because it contains these intense pepinazos guitarists, or because in the second half there are some issues if they had fallen by the wayside and would enhance a minutaje more accessible, it would have been a neater album ('Love is a Laserquest' own 'Piledriver Waltz' or 'All my own stunts "stay in" the heap "among the other topics, like' Black treacle ', the first disc which, again, pales in comparison with their peers, being in high steps, but not as superior as the other songs).

From here, you notice, I find only virtues to a disk that drinks more than any of the clarity of an Alex Turner sings better than ever (more prominence and magnetism in his voice) and a few letters (at ease, but acidic moving) channel where it gets its ambiguity and irony with nothing to envy or Richard Hawley Morrissey, becoming a crooner, and reach for many, a maturity that, excuse me, has shown since its debut.

The variety of sounds that show on the disc, without forgetting the melody and without frills, represent the ideal suit for issues that now should occupy tenured in his repertoire: songs 'She's Thunderstorms, "" The Hellcat Spangled Shalalala' or "That's Where You're Wrong 'show the category that already have.

'Suck it and see' or 'Reckless serenade', remain a step behind but attest to the category of their talent and intelligence of interpretation and their versatility and effectiveness as musicians. I could go deeper, but would only be more arguments to confirm the strength and expertise of some guys who, without ceasing to be prolific, rapidly advancing towards (if you have not already got) the scepter of best British band active.

No smudges on his discography, always maintaining a remarkable level or above, finding live class and showing ambition and personality in an unexpected, even counter (all groups turning to electronics, they incline to Echo & The Bunnymen) but they seem very clear in your head, especially that of Alex Turner, the great talent of his generation.

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