Does anything else think it sounds quite like 'If You Found This It's Probably Too Late'? :unsure:

 

Yes! :lol: It's got the same violins as they use for the intro to that track. IFFTIPTL is one of my favourite B-sides too so if they album sounds a little like that track on the whole I shall be very pleased. ^_^

can anyone tell me something about "the sounds"?

the clip is too short to say anything.

did i miss something?

can anyone tell me something about "the sounds"?

the clip is too short to say anything.

did i miss something?

 

Do you mean what the music from the clip sounds like? If so it's very much like If You've Found This It's Probably Too Late - is very epic with a violin, I think that's it at least.

I hope there's some more news about this project this week.

 

The single is meant to be released in March, and most of the singles that are going to be released in March have had their first offical airplay so far. Hmm, strange indeed.

NME have revelaed single and album details including tracklisting

 

Alex Turner and Miles Kane’s joint band will be called The Last Shadow Puppets, the duo have told NME.COM.

 

The Arctic Monkeys and The Rascals frontman have been working on a joint album since becoming friends when touring together.

 

This week’s issue of NME – on UK newsstands from February 20 – has an exclusive interview and the first listen to the pair's album anywhere in the world.

 

However in the meantime NME.COM can confirm that Turner and Kane’s first release will be single 'The Age Of The Understatement' on April 14.

 

An album of the same name will follow on April 21.

 

 

The tracklisting is:

 

'The Age Of The Understatement'

'Standing Next To Me'

'Calm Like You'

'Separate And Ever Deadly'

'Chamber'

'Only The Truth'

'My Mistakes Were Made For You'

'Black Plant'

'I Don't Like You Any More'

'In My Room'

'Meeting Place'

'The Time Has Come Again'

 

A website Theageoftheunderstatement.com has gone live showing super-eight film footage of the duo.

 

Now find out what it sounds like – and what Alex Turner and Miles Kane have to say about the album by getting this week’s NME now.

 

Meanwhile The Rascals release their new single 'Suspicious Wit' this week (February 18).

first release will be single 'The Age Of The Understatement' on April 14.

 

 

first airplay?

first airplay?

 

No idea yet. I'd say it'd be in the very near future however seeing as they've released these details. I can't remember how long it was from when the Favourite Worst Nightmare tracklisting was released and then the single was given its first play...

 

The tracklisting looks ace though! Very dark.

I've just found some more news on the whole thing:

 

First of, Zane Lowe from Radio 1 has already heard the single and he said it's very exciting!

 

They've apparently filmed the music video in Russia too. :o

 

And here's a picture of them both from NME. ^_^

 

http://static.nme.com/images/08218_165554_alexturnermilesAW_01.jpg

The Age of The Understatement” is a collaboration between Alex Turner – with whom you’ll be familiar – and Miles Kane, frontman of upcoming Wirral-based group The Rascals. Firm friends ever since Arctic Monkeys toured with Kane’s previous group, The Little Flames, the pair, now calling themselves The Last Shadow Puppets, were so inspired by listening to Scott Walker, early Bowie and David Axelrod amongst others – ‘it was dramatic’, Turner says’ ‘it filled the senses’ - that they hatched a plan.

 

The result is an album of 12 full-blooded songs, bold and brassy, full of drama, wit and melody, that source the past but avoid falling into pastiche. Both Alex Turner and Miles Kane are 22, and this is a youthful record, full of life and the sheer pleasure of music making: ‘it’s not a chore, it’s enjoyment,’ Kane says, ‘it’s great finding that with someone else, a dead good friend’.

 

“The Age of The Understatement” began after Kane played some guitar on Arctic Monkeys’ second album, “Favourite Worst Nightmare”. In early 2007, the pair began to trade songs: ‘a couple were already written,’ says Kane; ‘like “Standing Next To Me” and “In My Room”. The first one we did together was called “The Chamber”, and we took it in turns to do the vocals. It’s good to sing with someone else. It was just dead easy’.

 

‘We used a few half-hatched things,’ says Alex Turner. ‘It was three-thirds: one third of the songs we started and completed together; one third of the songs Miles started and we finished; one third of the songs I started and we finished. The fact that we were writing together seems to make it stronger. You’re not as exposed as you are if it’s just you on your own. I do like the partnership thing’.

 

The project quickly snowballed: ‘we wanted to do an album,’ Turner says, ‘so we knew we had to get other people involved. It was obvious that it would be James Ford; he’d worked with me on the second Arctic Monkeys record. It be-came obvious that we could do it with just us three. James is a drummer, we knew he’d be good. We really didn’t want to get a band together’.

 

It’s a big feature of the record that the two voices are intertwined, sometimes in harmony, sometimes swapping the lead. ‘You can tell that your voices are different,’ Turner says; ‘but you can’t tell when it changes. You don’t notice when one drops out and the other comes in.’

 

They found singing in a different style to their respective bands easy: ‘if you’ve written the songs,’ says Kane, ‘you’ve lived with them.’ ‘I enjoyed singing dif-ferent,’ Turner says; ‘the harmonies were fascinating. I was having discussions with my dad about harmony. He’s a music teacher. This record has really given me a desire to sing more, to practice. I feel like I hold notes for longer now.’

 

Snatching days and weekends, the trio wrote twelve songs and went to Black Box studio in France to record them. ‘The time we had there was fabulous,’ says Turner; ‘I remember arriving and thinking it was perfect. Little studio with fields all around it, cut off from everything’. With James Ford playing drums, Kane and Turner swapped bass and guitar duties – whatever the songs needed.

 

It was decided from the start that the songs would have strings: ‘It’s a danger-ous game,’ admits Turner; ‘we could have almost ruined it if it all got too lush. Laurence Bell found this guy, Owen Pallett (Final Fantasy), who came to meet us when Arctic Monkeys played in Toronto. He was a bit nervous – he’s young and hadn’t done something like this before – but that added to the record. I think the strings are terrific, they’ve really brought the songs to life.’

 

‘I walked into the studio when they were doing “Meeting Place”, adds Miles Kane; ‘this little song you’ve written in your bedroom is being played by an or-chestra! I went cold’.

 

The sweeping strings underscore these songs of characters and relationships, from ‘the girl with many different strategies’ in “Only The Truth” to ‘this relentless marauder’ in “Age of the Understatement”. Basically, it’s about the female of the species, as Turner admits: ‘I didn’t realise it while it was going down but listening after we finished it I realised that it says “she” so many times. It’s all centred around this one girl who is the heartbreaker’.

 

The Monkeys-approved “The Age of the Understatement” – ‘they’re all into it,’ says Turner - is a voyage of discovery for all concerned, and you can hear that sense of wonder, of enthusiasm, of sheer rightness. Reinvigorating the past, it sounds just right for now: ‘usually you collaborate when you’re older,’ says Kane; ‘but we thought, let’s do it while we’re young. It’ll have a different edge. It’s a dead natural thing: that’s always the best way’.

 

cannot wait for this :w00t:

This looks/sounds so good! :D Just heard the clip on the website for the first time and it sounds very.. different. :lol:

There's promo copies of this doing the rounds now - so hopefully there should be first radio airplay VERY soon (hopefully this week!) or maybe something might leak! :D

hopefully this week...

UNCUTS REVIEW

 

The Last Shadow Puppets: "The Age Of The Understatement"

 

 

Yesterday, I watched a DVD of “Love Story”, a documentary about Love and Arthur Lee. It’s not the most elegant piece of film-making I’ve ever seen, but the research and the storytelling of Lee, Johnny Echols, Bryan Maclaine, Jac Holzman (who should have a film devoted to him and Elektra, I think) and many others make it compelling.

 

 

One of my favourite parts sees Lee ruefully exploring the Castle, a sprawling and ornate LA mansion that Love somehow came to occupy for a while in the mid ‘60s. Needless to say, the standards of hygiene and interior design weren’t quite as high during their period of residence. Nevertheless, it’s evident that the place had an atmosphere of baroque importance; perhaps, eventually, it contributed to the way Love’s music sounded.

 

I mention all this because, over the past few days, I’ve been listening to the debut album by Alex Turner and Miles Kane’s new project, The Last Shadow Puppets, and there are one or two tracks on there (“Standing Next To Me”, especially) that remind me of Love; not just in the lavish orchestrations, but in a nebulous sense of grandeur.

 

Consequently, “The Age Of The Understatement” doesn’t superficially sound much like the Arctic Monkeys, nor – perhaps mercifully – like the little I’ve heard from Kane’s day job, The Rascals. Besides those echoes of Love, the much-vaunted references to Scott Walker (well, the first four solo albums, I should say) prove correct, though yesterday we were also talking about Barry Ryan and “The Days Of Pearly Spencer”. Owen Pallett’s fulsome string arrangements are the most obvious throwback to that era, but it’s also evident in the galloping pace – think “Jacky” - set by the drumming of producer James Ford.

 

That said, if you were to strip back all this musical extravagance, I suspect you’d find that the essence of Turner’s songwriting remains much the same as it always has been. I think there’s a comparison to be made between the sort of elaborate sentences he favours – not least for bandnames and album titles – and his melodic sense; the way tunes wander quixotically around, sometimes seeming to head off tangentially on a whim.

 

So “The Age Of The Understatement” itself flies off at a frantic, bombastic pace – very studious allusions to Morricone here, too - but there’s a definite similarity between the opening orchestral flurry and the crashing riff that begins “Brianstorm”. The breakneck clip-clop of “Only The Truth”, the languid stutter of “Chamber”; with a few tweaks, these could comfortably work as Monkeys songs. The buzzing “I Don’t Like You Anymore”, frankly, wouldn’t need much work on it at all.

 

Turner might be able to change the packaging, but he isn’t yet quite capable of changing the essence of his art. Only the sashaying, Bacharach-esque “The Meeting Place” really breaks the mould. Looking for genetic traces here, you could feasibly spot something of Kane’s Liverpudlian forebears The Pale Fountains in this one (Mick Head not being averse to a bit of Love himself in his time, of course).

 

Two points to make about all this, I suppose. One: it’s probably no bad thing that Turner’s melodic idiosyncracies survive the transition, when he’s still coming up with songs as swaggeringly excellent as “Calm Like You”. Considering the standard of so much over-reaching indie that’s aspired to precisely reconstruct those Scott albums in the past, we should be grateful. Two: I figure we shouldn’t ascribe all of this to Turner and consequently underestimate the input of Kane. There’s a distinct parallel between The Last Shadow Puppets and The Raconteurs, not least in the way Turner and Kane swap vocals and, at times, are virtually indistinguishable from one another.

 

If there’s one more major difference between this and the Arctic Monkeys, though, it’s that, for all its paciness and supposed poppiness, “The Age Of The Understatement” is nowhere near as immediately striking as much of those Monkeys albums. On first listen, it struck me as a meticulous, gilded object, blessed with some lovely music (the brooding orchestral coda to “Black Plant”, say), but lacking truly great songs.

 

Half-a-dozen listens on, though, I’m won over. These songs are baroque, bejewelled puzzles that reveal their charms slowly, a little like some of the denser stuff at the rear end of “Favourite Worst Nightmares”. It’d be easy to presume that Turner (oh, and Kane) had over-extended himself here; tried to grow up too quickly, perhaps. Surely, he couldn’t be critically involved in another set of strong songs so soon? Well, he has. A fine record.

 

There's a new clip up of the ageoftheunderstatement website too.

 

I have an ITCHING feeling that it's from the actual offical video for the 1st single too...

Alex Turner and Miles Kane have posted up more teaser footage from their The Last Shadow Puppets project.

 

The Arctic Monkeys and The Rascals frontmen, who have recorded the album ’The Age Of The Understatement’ together (released on April 21), have put some Super 8 footage of themselves on their website Theageoftheunderstatement.com/.

 

The grainy film shows the band walking past Russian troops and includes shots of the Moscow underground.

 

It is believed that the footage is from the video shoot for their debut single – also called 'The Age Of The Understatement' (out April 14) – which the pair exclusively told NME.COM they were filming in the Russian capital.

 

“We’ve been in Russia, we’ve done the biggest video ever,” explained Kane. “It’s going to look great. The pair of us have been heading around various places in Moscow. I won’t reveal it all yet, but wait until you see it – it will blow your head.”

 

“Ricky Gervais’ long-lost brother is in it, I think,” joked Turner. “We haven’t really been out, but the places where we’ve been shooting are mad and that. I’d like to come again on a weekend or something.”

 

Source: NME.com

Alex Turner (Arctic Monkeys) & Miles Kane (The Rascals) are in New York promoting their forthcoming debut album as The Last Shadow Puppets. A very special acoustic performance has been added to their schedule as a treat for NY area fans!

 

When: Tomorrow, Tuesday March 4, at approx. 10 PM. Doors @ 9:45, please try not to show up before then. A line will start outside before the doors open.

Where: Soundfix Records, 110 Bedford Ave, Brooklyn, NY (Bedford & N. 11th) - Bedford L-train stop / Williamsburg, Brooklyn

How: Just show up, it's free. All ages, no tickets required.

Please do NOT call Sound Fix for details.

 

Woah! :o New Yorkers are in for a treat! Hope they come and tour the UK soon...

Acoustic performance of Standing Next To Me:

 

It sounds like something from Kill Bill

 

I do like it but it's not instant like AM stuff, it should grow in time though

http://i243.photobucket.com/albums/ff303/cheersbigears_bucket/dsgs.jpg