From the Ritz to the Rubble?

From this...

To this.

It was late 2005 when the Arctic Monkeys burst out of High Green with their first single since signing with Domino, 'I Bet You Look Good on the Dancefloor.' That was the song that defined a generation, that was the song that became basically everyone's childhood theme tune, that was the song that still gets people dancing at 18ths all over the country no matter what walk of life you may have come from. Then came the album, full of teenage tales of drinking cider in parks and getting thrown out of clubs weekend after weekend. It was as if the Arctic Monkeys came as a refreshing break from the over produced bands, bands that they provided a much needed antidote for. This band famed themselves on not being 'famous' and this is why we loved them. However, in recent years, the Arctic Monkeys have taken a blatant turn, whether it be for better or for worse, they are worlds apart from the spotty teenage lads they once were, ranting about wannabes and dodgy parts of town.

'Favourite Worst Nightmare' didn't come as much of a surprise. The girtty lyrics of 'flicking through a little book of sex tips' and 'running off over next doors garden' still remained along with fast paced guitars and catchy riffs. However, a new side to the band was shown, especially on tracks like '505' and 'Only Ones Who Know.' Nothing drastic though, just a mature and grown up edge to their music that they once lacked in their earlier EPs and of course 'Whatever People Say I am, That's What I'm Not.' 'Favourite Worst Nightmare' still strikes me as some of their most credible work to date, especially tracks like 'Do Me A Favour' and 'If You Were There Beware.'

A long two years went by until the Arctic Monkeys released their third studio album, 'Humbug.' That large chunk of time the boys deprived of us new material came as a catalyst for a total revamp of the Arctic Monkeys. Not only had Turner's hair got slightly bigger but the sound of the Arctic Monkeys as we knew them had completely changed. They sounded even maturer and much like a product of their influences rather than the odd-balls in a world of musical clones they once were which could simply have been a result of the input Josh Homme had on this album, or maybe Miles Kane influenced Turner during his time working on side project, Last Shadow Puppets.

Although the bands image and musical style had undergone a slight refurbishment, the Arctic Monkeys had definitely not lost their mojo. In my opinion, 'Humbug' is neither better nor worse than either of it's predecessors but it definitely did showcase the bands musical range and if anything, it made me eager to hear the next chapter in the Arctic Monkeys' story. That chapter came in the form of well received fourth album, 'Suck It And See.' The Arctic Monkeys had adopted a vintage, almost sixties style to their music on this record, heavily apparent on tracks like 'Black Treacle' and 'Piledriver Waltz.' This album was definitely the turning point for the Arctic Monkeys. 'Humbug' was like the warm up for what was to come. Now tracks like 'A Certain Romance' and 'Mardy Bum' sound like they could be the work of an entirely different band.

It has now been 2 weeks since the release of AM, the 5th helping of Turner, Helders, Cook and O'Malley and it is safe to say that the Arctic Monkeys have changed their sound yet again. A much more rock'n'roll vibe has been adopted on this record but it seems as though they have lost their sense of attack. Alright, 'Arabella' has some pretty heavy riffs, but its no 'View From the Afternoon.' The album is certainly not a bad effort but I feel like it's passed its sell-by-date. It pains me to say this but the Arctic Monkeys are nowhere near as unpredictable and plain exciting as they were 6 or 7 years ago. AM was not a shock to the system, and neither was Turner's new rock star approach to everything. I mean, he even forgot the words to '505' at Itunes festival. The question is, have the Arctic Monkeys got too big for their boots despite not having much to boast?

Arctic Monkeys cover Drake's 'Hold on, We're Going Home'

I'm not going to lie, I am a closet Drake fan so when I found out about Alex and the boys covering his newest release I got a teensy bit excited. Just when you think you've heard it all ey. 

Despite not being the biggest fan of the new sound that the Arctic Monkeys have adopted on their new album, AM, the way they have transformed this tune into an old school rock'n'roll masterpiece is insane. This track would not sound out of place on their album and I absolutely love Alex's Elvis Presely/Embarrassing dad at a wedding impression. How can an individual make dad dancing look so fucking cool?

Introducing: Splashh

image: cheeseontoast.co.nz

This psychedelic four piece, formed in Hackney, have been making waves since early 2012, bagging critical acclaim from the likes of NME, The Guardian and BBC 6 Music. All members coming from different bands such as The Checks and Brain Slaves, the four of them have combined their talents to form a refreshing sound, screaming psychedelia in an old-meets-new fashion. Think Tame Impala with a hint of New Order, Maybe even throw in some Velvet Underground.

Their debut album 'Comfort' was released in the UK yesterday and I am exceedingly impressed. Tracks like 'All I Wanna Do' and 'Vacation' sound like ready made crowd pleasers as well as 'Need It' and 'Washed Up' which contain everything you would expect from a trippy psych-rock record.

Review: Arctic Monkeys - 'Stop The World I Wanna Get Off With You'

image: culturacolectiva.com

In the lead up to their brand new album, the Arctic Monkeys have excited us with a few teaser tracks, some taken from the album, like 'Why'd You Only Call Me When You're High?' and a couple of b-sides such as '2013,' which was not as well received as I expected, and this one. 

I find it extremely hard to believe that 'Stop The World I  Wanna Get Off With You' has not made it onto the LP as it is certainly one of their most credible releases this year. This track sees confident, boastful guitars and drums protruded by Turner's current lyrical theme of trying to 'get with' a certain someone. This track is by far their catchiest yet (from this year anyway) and it definitely reflects the brand new style they have adopted on their new material. Even though it is only a b-side, this track definitely deserves some serious attention! It just goes to show how credible the Arctic Monkeys have become. If their b-sides are this good, what can we expect from them in the future?  

***

9/10

The 1975 Re-release 'Sex'

Earlier today, The 1975 took to twitter show their fans the brand new video for a song they have recently re-released, 'Sex.' Since being a fan of The 1975's music, this song has always stood out to me from the 4 EPs they have released on Dirty Hit in the run up to their album release. With it's sleezy lyrics and energetic riffs, it was hard not to stand still the first time I heard it in a tiny Mancunian venue while the boys supported Little Comets under the pseudonym 'Bigsleep.' However, I feel that the gritty charm this record once had has been lost in this new auto-tuned version. I am yet to understand why The 1975 continue to do this to their records, like the new version of 'The City' they re-released earlier this year. Why change something that is already incredible? I just hope tracks like 'Settle Down' and 'Girls' don't turn out as overproduced.

Despite their obession with fixing unbroken goods, The 1975 have definitely took it up a notch with this new video and it finally seems like they are evolving as a band that a worthy of big things. I feel that this new video really depicts the meaning of the song a lot better than the original did.

Review: The Weeknd - 'Belong to the World'

image: stasheverything.com

The Weeknd's first pursuit since his trilogy of mixtapes has sparked a considerable amount of controversy in the past week as speculation as to whether or not the track, 'Belong to the World' samples Portishead's 2008 single 'Machine Gun' emerged. Despite Abel Tesfaye denying the claims that he used the song in his new single without asking for permission, Portishead instrumentalist Geoff Barrow is adament that the sample used is identical to the one he created. However, The Weeknd claims that he has simply recreated the sound from Portishead's track although he has admitted that 'Belong to the World' is in fact based on 'Machine Gun.' Blimey.

Despite the beef that this track has caused, it is most definitely The Weeknd's most dynamic track yet with a much clearer chorus and melody to his previous work on his trilogy of 2011 sexually charged, trippy mixtapes. Although he has adapted his sound on this track, maybe to suit a more commercial audience, The Weeknd's signature deep, emotionally charged lyrics and haunting vocals are still apparent which continues to set him apart from other artists of his genre.

Although I have always been a huge fan of the mixtapes he put out in 2011, I am really loving this track and the brand new vibe The Weeknd seems to be going forwith this new album set for release on 10th September.

I am incredibly excited to see what 'Kiss Land' has to offer and I can totally understand why The Weeknd is being dubbed ad the new-age Michael Jackson.

***

7/10

Introducing: Jaws

image: edgemagazine.org

This Brummie four piece are for sure my favourite new band. Since forming in early 2012, they have released a whole host of incredible tracks, affirming their 90's grunge yet warm, cosy sound (if that makes sense.) This band seem to be happily wavering in the background as their home town, Birmingham, takes centre stage in the whirlwind of new music, take Peace and Swim Deep for example. On the contrary, I am fully confident that Jaws have the capability and pure talent to thrive in this period of exciting new music. 

Singles like 'Toucan Surf' and 'Surround You' which offer such a shimmering indie pop sound. The later released 'Friend Like You,' continues in the same promising fashion as their earlier tracks whereas 'Stay In' presents an edgier, more rough cut sound to their music. And then their most credible work to date in my opinion, 'Gold,' truly is gold. It's simple, maybe even predictable lyrics suddenly sound lavishly remarkable amidst the decadent guitars and bashful drums.