Puppets album solid if not memorable

Monkeys’ man Alex Turner stretches out his ‘60s legs with latest release.

By Patrick Daugherty
May 9, 2008

(Click graphic to enlarge)

It must be 2008: a 22-year-old with only two albums to his (albeit already illustrious) name feels the need for a side project.

Admittedly, everyone is doing it these days, but the Arctic Monkeys’ Alex Turner didn’t seem a candidate to partake in such an indulgence.

He’s already known as one of the biz’s most prolific songwriters, releasing three new songs with every Monkeys single, and until this album was announced last August, it was completely reasonable to believe the tireless Turner would keep all of his music under the umbrella of his main baby.

Alas, that’s not the way things work in 2008 — you can’t risk tarnishing your brand — and Turner’s latest whim apparently just doesn’t fit the parameters he has established for his Monkeys.

The inspiration behind Turner’s equally dubiously named side project is obvious: he has been listening to all the classic rock and psychedelia records he didn’t have time for as a teen and is letting the world know about it in the form of The Last Shadow Puppets.

It’s actually pretty similar to what Panic at the Disco has been going through.

Turner also lets us know what he’s been watching lately: every James Bond movie ever made.

And there’s the first major difference between the Puppets and the Monkeys: This is widescreen songwriting.

Turner’s not satisfied with singing about random English street hoods or club pricks this time around, with lyrics much more refined and far less specific than anything he’s ever written for the Monkeys.

And there are strings, lots and lots of strings.

The Rascals’ Miles Kane is given equal songwriting credit with Turner, but his audible contributions pale in comparison to those of string arranger Owen Pallett (Final Fantasy) and performers from the London Metropolitan Orchestra.

Kane might play some guitar, sing sometimes and maybe even write some of the hooks, but his presence and contributions are indiscernible.

This is Turner’s plaything — Kane’s just the mate lucky enough to be invited along.

For an album whose main inspirations are Burt Bacharach and 007, the results are far better than they have any right to be.

“Calm Like You” could stand next to any late ‘60s psychedelic ballad, and the title track is one of the grander songs released this year.

The Bondness of it all is both the album’s greatest strength and its greatest weakness — strength because it sounds unlike anything else out there today, and weakness because it sounds more like a soundtrack than an album.

There is nary a bad track here, but there isn’t a standout either.

The songs blend seamlessly together but not apart from each other.

Their quality is ruthlessly consistent, if not individually memorable.

The result is like a movie with a bland script being saved by high production values and classically trained actors.

As the classically trained actor here, Turner justifies the album’s existence through his ever-improving lyrics and singing, both of which are remarkably accomplished for a 22-year-old.

The Age of the Understatement lacks the memorable characters that populate both Monkeys albums, but there is a flow and touchingness to Turner’s performances that he has never before achieved.

This album may be nothing more than a Turner thesis statement on his favorite ‘60s music, but it’s an enjoyable one and a far more accomplished album than 90 percent of its indie peers.

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Puppets album solid if not memorable

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