Arctic Monkeys - "Suck It and See"

Released 6 June 2011

Time is relative, or so we’re told. Personally, time often appears like an elderly relative, one who never takes the hints and polite coughs while rooting around the cupboards for another slice of Mr Kipling.

For Sheffield’s Arctic Monkeys, time has merrily zipped along to such an extent they sound (and not to be cruel, but look) middle aged only 5 years into their steep career ascent. “Suck It and See”, studio album four, is as mature and measured as 2006 debut “Whatever People Say I Am, That’s What I’m Not” is furious and eccentric. More precise, and certainly more melodic than its immediate predecessor, the somewhat ill-advised “Humbug” from two years ago, “Suck It and See” captures the lads in fine musical and lyrical confidence.

Working with James Ford has brought a character to these songs that instantly recall his work with the Klaxons for their “Myths of the Near Future”. Very early on in “Brick by Brick” is an echo from “Gravity’s Rainbow” which underlines and emboldens an already nifty garage belter. The sweet “Piledriver Waltz” and wry “Don’t Sit Down ‘Cause I’ve Moved Your Chair” recall the most humble balladry from the debut, the blokes-do-cry songs richly filled with linguistic charms and surprises. “You look you’ve gone from breakfast in the Heartbreak Hotel / and sat at the back room by the pamphlets and the literature” from “Piledriver Waltz” holds its own against Morrissey at his most resigned. There are countless others – the title track especially ensures Alex Turner retains his reputation as one of the best current songwriters of his generation.

Bands settle at their most comfortable – Gomez, The Coral – and here the Arctic Monkeys have a lot more in common with these bands of depth, breadth and competence than the chancers who drew up to the stage in a battered old van with over-ripe choruses. Here’s to somebody working on a new album sleeve design sometime soon, mind…

Jealous of Girls : Strawberry Kisses

Manchester songwriter Matthew Lewis is the antidote to that city’s angrier side, albeit for all the songs other than the opener to his debut album which lampoons the modern gig attendee as ‘bastards’ for talking over acoustic guitarists. Whomever they might be...

It would be untrue to describe the rest of the album as free from such resentment though the mood is noticeably lighter once that particular spleen is vented. “Strawberry Kisses” is robust, direct, a stripped down collection that hints at his indie and alt.rock roots whilst merrily wandering down paths largely of his own furrowing.

The very best moments here are Lewis at his most fragile, “Batter Up” and “She” being clear examples, “Sunny Side Up” deliciously implicit in its barbed romance as it attentive upon pop melodies.

Although largely free-flowing, when the brakes are applied it’s straight into the wall; the attempts at solemnity struggle to convince, consequence of an almost complete absence of other instruments. Given these limitations, the standard is exceptionally high; there’s no flippant diary-writing angst and influences remain bedded down rather than fully grown.

There is an engrossing quality here, one which should quieten the target for abuse in the first song; if it all goes well, he may not have to play it anymore.


Matthew Lewis ("Jealous of Girls") can be found at MySpace and Twitter

"Strawberry Kisses" is out now at jealousofgirls.co.uk