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Post by Fuggle on Mar 10, 2006 18:51:50 GMT -5
Arctic Monkeys to Release DVDArctic Monkeys are to release a DVD on April 10th entitled When The Sun Goes Down. The DVD features two short films called 'Scummy Man' and 'Just Another Day' which tells the storey of Nina and what happens in her day to day life in Sheffield. In other Artic Monkeys news, fans site Mardy Bum reports that the bands next single, which is due out in April, could be an EP featuring all new material.
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Post by Fuggle on Mar 10, 2006 18:57:34 GMT -5
Britain's Arctic Monkeys swing into US jungle The teen sensations are starting a US tour. But will the band's lingo and humor translate Stateside?By Mark Rice-Oxley | Correspondent of The Christian Science MonitorOVERNIGHT SENSATION: The Arctic Monkeys, fronted by guitarist and vocalist Alex Turner, performed live in London last month. A US tour starts this weekend.As rock 'n' roll antics go, it's a routine usually reserved for big stars and their biggest hits. The lead singer abandons his microphone, gestures to the thousands of adoring fans and waves a hand to encourage a singalong. But on this occasion - last August's Reading Festival - it wasn't the Rolling Stones or U2 offering up one of their anthems, but a teenage four-piece from northern England who hadn't even released a record. And yet the crowd knew every word. Such vignettes are part of the legend of the bewildering rise of a band that has become something of a cultural phenomenon in Britain. To the casual observer, the Arctic Monkeys may come across as your typical new indie wannabes: black T-shirts, moppish hair, you-lookin'-at-me eyes, and that underfed lankiness that suggests a good, home-cooked meal or two might not go amiss. But there is nothing typical at all about a band whose CD, "Whatever People Say I Am, That's What I'm Not," became Britain's fastest-selling debut album. Ever. This collection of teenagers from the city of Sheffield only picked up guitars four years ago. Even more astonishing is that they used self promotion on the Internet to sell out sizable venues before the media or record labels had even heard of them. "People want a band to get excited about," says Alexis Petridis, a music writer for the Guardian newspaper. "There is nothing better than that moment when everything coalesces around a band. Last time it happened was with Oasis and before that the Stone Roses." That fervor has started to bubble in the US. The album made its debut at No. 24 two weeks ago - a promising start to an 11-date North American tour that kicks off this weekend with an appearance on "Saturday Night Live." Back home, the band has already notched two No. 1 singles: "I Bet You Look Good on the Dancefloor" and "When the Sun Goes Down." Self-made men In a refreshing change from the usual story of hype and puff in the age of manufactured pop, the band's success stems not from a reality TV show or a large marketing budget, but from its own fans. Demos of early gigs and tunes were made available to fans who copied and shared them on websites such as MySpace.com. The viral buzz of the chat room arguably spread the word more effectively than record-label marketing. And the band's popularity looks far more authentic because of it, according to rock critic Neil McCormick. "It's the opposite of hype," he says. "The bandwagon started rolling from the ground up." The Web-based marketing may have helped, he says, but only because the songs were appealing in the first place. "It's all very well to talk about the Internet as a forum, but it's no use swapping songs and giving away your music if it isn't any good," Mr. McCormick says. "They speak to the young consumers of this country in a way that we haven't seen since the Jam and the Smiths." Indeed, music writers and fans have marveled at the precocious lyrical talent of lead singer Alex Turner, who is already being labeled the voice of a generation. The album is a succession of spiky songs about the loveless inner city, about prostitution and pimps, about running away from police and not getting into nightclubs, about the raucous commotion of youth before it is silenced by the dreary certainty of age. Turner's turns of phrase are ambitious (at one point he rhymes "problem" with "Rotherham," a particularly unheralded northern town), funny, cynical, and angry. "He really is a poet," says Andrew Collins, a cultural commentator and avid Arctic Monkeys fan. "He is chronicling life from an 18-year-old's perspective. He's not showing off with long words, but with clever sentences. He looks around him and sees there is humor there." In truth, the British music scene was probably ready for the Arctic Monkeys. Britpop, that exuberant soundtrack to the "Cool Britannia" of the 1990s, has been fading away for years like a dreary Coldplay outtro, giving way to a mope rock scene that needed an infusion of energy. Mr. Petridis of the Guardian says there is an element of self-fulfilling prophecy in the way that the rock world has embraced the Arctic Monkeys as the next big thing. "It's partly willed into existence," he says. In it for the long run? Despite the enthusiasm, there must be a worry about longevity. Though still teenagers, the Arctic Monkeys are entering a business in which life cycles are mayfly-short. But so far, there have been few signs of the bombast and/or self-destruction that routinely claim other acts. These are, after all, Yorkshiremen, and Yorkshiremen have a reputation for stolidity. Cracking America would help cement the band's reputation. The band has a reputation for a tight live show, but it remains to be seen if their cultural references will find a response from US audiences. "You wonder if Americans will literally be able to understand Turner," says Petridis, noting the way the songs are spat out in a thick South Yorkshire accent. But he adds that, although the songs may seem parochial, "there is a universal element to them as well." After all, these are songs about drinking and rebelling and having a laugh. "These sorts of things happen all over the world," says Petridis.
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Post by Fuggle on Mar 10, 2006 19:13:48 GMT -5
The next big thing? Arctic Monkeys' album is fun to listen to, but not an instant classic
Published on Thursday, March 9, 2006 Mark Sibilla Kansas State Collegian
You will excuse me if I was a little skeptical on first listen of "Whatever People Say I Am, That's What I'm Not," the debut album from England's Arctic Monkeys. This may be hyperbolic, but hyperbole does not even begin to explain the hype-storm that has surrounded this debut. British music magazine, New Music Express (NME) gave the Arctic Monkeys' album its highest score, 10/10.
Fans of the band made the album the fastest-selling debut ever. During the first week of its release in Britain, it sold 118,501 copies -- more than the rest of the Top 20 combined.
The Monkeys were quickly declared our generation's "Most Important Band."
Whenever I read such salivating in a review, there is always something in my mind that immediately puts on the brakes. It is hard to believe a lot of the hype the music press slathers on "The Next Big Thing," because the past is littered with too many disappointments -- I still have flashbacks to the letdown of bands such as The Vines.
The author of the review even deftly dropped the names of every great British band from The Beatles to The Sex Pistols when describing the Monkeys' sound. Others have declared these boys as heirs to The Clash's legacy.
I wonder if these magazine writers have heard the same album that I have. I would say a closer description of the Arctic Monkeys' sound is The Strokes or The Libertines, filtered through a cheesecloth of Franz Ferdinand. It is a skuzzy garage-rock, built on angular riffs with a distinctly British sound and a steady, danceable back-beat.
But while The Strokes have the style and the swagger, The Libertines have the druggy lifestyle and the turbulent genius, and Franz Ferdinand has the sexiness and the sense of history, the Arctic Monkeys seem content to mash their various influences together with no real sense of the past.
They are in it for the quick hits of the cigarettes and the fast hook-ups at the local pubs.
The four boys in the Arctic Monkeys are simply regular blokes playing music to which other regular blokes and their mates can drink and dance, fight and drink some more.
Perhaps the purest distillation of their sound is captured in the first single, "I Bet You Look Good On the Dancefloor." The song is a messy three-minute burst of bouncy guitar riffs and punk-rock energy peppered with hazy call-and-response vocals.
The real treat is the words of Alex Turner. Turner's sharp wit and keen eye, mixed with his unmistakably British delivery, is what helps separate Arctic Monkeys from all the other bands that churn out this usually emotionless, run-of-the-mill post-punk sound.
For example, "Dancefloor" is the story of a cat-and-mouse game between Turner and a sexy bird standing across the bar. It perfectly captures the nervous energy present between two people flirting and making eyes at one another.
The majority of "Whatever People Say I Am" fails to recapture the perfection of "Dancefloor," but I cannot discount these boys for trying.
"Still Take You Home" is an Elvis Costello-esque bit of punk fury. Turner really shines as he describes a "tarted-up" girl who has all the guys in the club eating out of her hand. Turner chides her for her apparent vapidness and not being able to see through her fake tan; the real treat is the chorus, in which Turner simply declares, "But I'd still take you home."
Turner truly reflects the sour grapes thoughts of every average-looking bargoer who spots the hot girl every guy is tripping over to take home; our thoughts might be awash in spiteful jealousy, but if we had the chance, we'd still be more than eager to take her home.
Other highlights are "When the Sun Goes Down," which tells the story of Turner's run-ins with lonely prostitutes, and "Riot Van," which shows the Arctic Monkeys can turn down the tempo without losing their emotional urgency and quick wit.
Ultimately, the Arctic Monkeys' debut album has grown on me. It definitely is not worthy of the hype it has received, but it is a truly fun, catchy and life-affirming album.
"Whatever People Say I Am, That's What I'm Not" is a promising start for a band that very well could produce a classic album among the ranks of Oasis' "What's the Story Morning Glory," Blur's "Parklife" or Pulp's "Common People."
I certainly am not holding my breath for that album — history has proven too many promising upstarts to be talentless hacks — but you'll excuse me if I secretly hope these boys can pull it off.
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Post by Fuggle on Mar 10, 2006 19:17:32 GMT -5
Brass Monkeys Meet the Arctic Monkeys, England's newest hypemakers.
By Nick Southall Article Published Mar 8, 2006
The Arctic Monkeys are the most cynical band in the world. Their surge to prominence in the UK (and hipster notoriety in the United States) has been guided by an amazingly successful hype campaign: Relentless Internetworking, MP3-sharing, and toilet-circuit gigs have led to countless articles about how the Internet has "changed pop music." Yet in interviews the band members are keen to emphasize their down-to-earth Northern roots -- "What's a MySpace? What's a hype?" Note: the Arctic Monkeys recently completed a series of sellout US dates on the strength of their MySpace page, and their album Whatever People Say I Am, That's What I'm Not just became the fastest-selling debut in British history. Apparently the Monkeys now feel the need to obfuscate, lest the truth damage their rock mythology. That's like pretending you met your girlfriend in the pub rather than online in case people take the piss. Musically, the Arctic Monkeys exist in a lineage of British social-commentary rock that includes the Smiths (ostensibly), Pulp (lyrically and spiritually), and the Fall (vaguely) -- all filtered through the current vogue for Britboys with guitars so effectively that the group could easily seem like an A&R man's wet dream. Their UK album sleeve noticeably neglects to include songwriting credits. Accusations of at best cynicism and at worst blatant prefabrication are inevitable.
So, are they manufactured? Who gives a shit? What matters is the songs. In that regard, lyrically, the Arctic Monkeys are remarkable -- although it's hard to decide if that's because they are inspired or abominable. There's something alluring about singer Alex Turner's accentuated South Yorkshire drawl, an air of the downtrodden, semieducated provincial dreamer caught in a dichotomy of impulses, between the poet and the football hooligan: Got a chase last night/From men with truncheons dressed in hats/We didn't do that much wrong/Still ran away though for the laugh/Just for the laugh, from "Riot Van." That these lyrics are delivered with an impassioned velocity that makes Eminem look like an old man adds a level of hysteria that lifts the Arctic Monkeys well beyond their peers.
The problem is that there's little exoticism or musical creativity in evidence on Whatever People Say I Am, That's What I'm Not, especially when juxtaposed with the work of last year's early hyped young things, Bloc Party. The Arctic Monkeys offer much less high-minded fare by comparison -- just as dancefloor-friendly but less beautiful, less aspirational, less pretentiously obtuse. These four Sheffield young'uns have no sense of the "other" about them, no sense of wonder or scope, proffering instead a simplistic take on danceable garage rock that anyone could produce if they practiced enough. Of course, for thousands of young people, this will make them much more identifiable than the glamorous Kele & Co.
The band's determined parochialism is evident in song titles like "Mardy Bum" (about a moody girlfriend), and in the fact that they named an instrumental B-side ("Chun-Li's Spinning Bird Kick") after an ancient video game that lost cultural capital nearly a decade ago. It's an interesting tune, actually: a clumsy, repetitive "funk" instrumental that smacks of white kids who've had no contact with actual funk -- or hip-hop or reggae or dancehall or R&B, for that matter -- but who think they ought to be able to do something funky by repeating a riff with a backbeat for three minutes. It raises a question: What would the Arctic Monkeys sound like if they tapped into their locale beyond lyrics, if they took note of Sheffield's long history of industrial and electronic experimentation?
The Monkeys inhabit a world that exists after school discos and without the possibility of university or gainful employment. A world where you're too young to get into clubs, too geeky to get a girl, too spotty to get a boy, too useless to get anything else. A world of blunted romance and frayed seams. There's real anger and disillusion: at prostitution, urban decay, petty crime, scumbags, who they are, and where they come from. It's a working-class cultural wasteland where There's only music/so that there's new ring tones ("A Certain Romance"), where love is dead and our heroes, such as they are, are desperate for romance. Being taken home by the police, being beaten up, getting trashed just to forget, trying to fall in love but not knowing how. They're very, very young, possessed of naïveté enough to drop references straight from English literature texts into their couplets (rhyming Montagues or Capulets with DJ sets) and making allusion to Duran Duran (Your name isn't Rio/But I don't care for sand) in the UK No. 1 "I Bet You Look Good on the Dance Floor" -- a song that, despite protestations, is a bona fide and deserving pop smash, catchy like bird flu and only a touch less deadly.
If you're after a moment of transcendence, a substitute for a falsified God, something to make you feel awed in the face of beauty, then you're barking up the wrong tree. But if you're a teen in Torquay and life is shitty, Whatever People Say I Am will probably be the most important thing in the world. And if all you seek is a visceral thrill, a tangible surge in the zeitgeist that lasts a second and then passes without trace ... maybe they're for you. I can't imagine revisiting this record in ten years' time for any purpose other than anthropological. It doesn't matter.
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Post by Fuggle on Mar 10, 2006 19:36:56 GMT -5
Monkeys tipped to record World Cup anthem with Rooney
08/03/2006
The Arctic Monkeys have been tipped to record England's official World Cup song.
New Order's Peter Hook, one of the people behind the 1990 football anthem ‘World In Motion', has been asked by the FA to help pick a song to be released ahead of this summer's tournament in Germany.
Hooky said the Sheffield-based four-piece would be the ideal candidates for the job - and that a rap from Wayne Rooney would be just the thing to top it off.
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Post by Fuggle on Mar 10, 2006 19:39:13 GMT -5
Peter Hook: 'Arctic Monkeys and Wayne Rooney For World Cup Song' Surely not?!...by Scott Colothan on 3/8/2006 Photo by: Shirlaine ForrestWith his tongue hopefully firmly wedged in his cheek, New Order’s Peter Hook says the Arctic Monkeys should do the England World Cup song – with Wayne Rooney on rapping duties. Hookie of course co-wrote New Order’s 1990 smash ‘World In Motion’ which featured John Barnes’ infamous ditty. Speaking to Manchester Evening News, Hook said: "I'd go for the Arctic Monkeys this year, possibly with a rap by Wayne Rooney. "Any anthem needs to be loud and punky, and a little bit cheeky, which they could pull off." As previously reported, Joe Cole also said in a recent interview that the Monkeys should be prime candidates for the World Cup song.
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Post by Fuggle on Mar 11, 2006 19:26:41 GMT -5
Arctic Monkeys plan new EP
By Jim Welte March 10, 2006
Fast-emerging Sheffield rockers, set to hit the US with a concert tour next week, will include new batch of songs on next single release.
With US fans about to get a live taste of the Arctic Monkeys, the Sheffield quartet is striking while the iron is hot by prepping an EP of new tracks.
The British buzz sensation's debut album, Whatever People Say I Am, That's What I'm Not, is the fastest-selling debut album in British chart history with first-week sales of 360,000 copies, and the album currently sits in the top 50 on the Billboard 200.
The Monkeys are set to play Saturday Night Live this weekend and two nights later they will kick off a 12-date North American tour in San Francisco.
The tour includes stops at industry bash South by Southwest in Austin, as well as Los Angeles, Chicago, Toronto, Montreal, Boston, NYC, Philadelphia, DC, and Seattle. The band will also open for Oasis in Toronto March 20. But just as US fans are getting to know the buzz band, the rockers plan to release an EP of new material, according to NME.com.
The band will likely expand the planned April release of the single "The View From The Afternoon" to include new material they have been working on between tours.
"Yeah we're doing an EP for the next single, whenever it's going to be," guitarist Jamie Cooke told NME.com. "It's going to be new 'uns."
"We're going to finish the new songs, then we're going to record them, then we're going to play them live and stick them on a CD," said bassist Andy Nicholson. "It's probably going to be an external player, I'm not joking, five songs, and it's hopefully going be out in April. Fingers crossed."
The EP will likely include the tracks "Leaving Before The Lights Come On," which the band previewed on their recent UK tour, "Do Me a Favour," "Three Episodes Where Someone Else Got In The Way," and "I Wish You Would Have Smiled In The Bakery."
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Post by Fuggle on Mar 11, 2006 19:29:12 GMT -5
The Sun Goes Down On Arctic Monkeys DVDFriday March 10, 2006 By: ChartAttack.com StaffArctic MonkeysArctic Monkeys will release a DVD on May 9 featuring two short films inspired by the group's song, "When The Sun Goes Down." The two films, Scummy Man and Just Another Day, tell the story of the song's prostitute protagonist Nina (played by Lauren Socha) and what happens in her life. The other character, the Scummy Man, is played by Stephen Graham (Snatch, Gangs Of New York). The shorts were written and directed by Paul Fraser and shot entirely in Super 16mm by Danny Cohen in Sheffield, England. The DVD, which will be released by Domino, also features the music promo for "When The Sun Goes Down." The Monkeys are scheduled to appear on the March 11 episode of Saturday Night Live before kicking off a North American tour in San Francisco two nights later. The group will play two Toronto shows: March 20 supporting Oasis at the Air Canada Centre; and headlining their own show the following evening at the Phoenix Concert Theatre. The band's Whatever People Say I Am, That's What I'm Not debut has sold respectably in North America, but they're still not the phenomenon that they are in the U.K. where they broke first-week sales records, or in Australia, where the disc also debuted at #1. —Allegra Shepherd
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Post by Fuggle on Mar 14, 2006 9:34:24 GMT -5
Saturday Night Live: Matt Dillon & Arctic MonkeysPosted Mar 12th 2006 by Jonathan ToomeyUp, down, left, right... this episode was all over the place. After last week's fairly solid effort, I was hoping we would see more of the same. But I don't think that it was necessarily the cast's fault. Matt Dillon just wasn't very good. There was some heavy reliance on the four new guys (Samberg, Hader, Wiig, and Sudeikis) which I was very pleased with. But other than a few sketches, this episode was a snoozer. Cold Open - Nice change of pace here. For once it wasn't a Bush press conference or Hardball. I really can't remember the last time they opened with a regular sketch, although the pre-taped Steve Martin open was very good. Maya, Rachel, Amy, and Kristen played four college girls waiting for their spring break flight. They're gonna have group sex, smoke some hash, all sorts of fun things. The pay-off is after their flight gets called, we find out their parents were sitting next to them the whole time. Favorite line: "Last year when I got home, I found a ten dollar bill in my butt." Matt Dillon's Monologue - Dillon chose to read the "acceptance speech" that he never got to read at the Oscars last weekend. He had been nominated for best supporting actor for his role as a racist cop in Crash. So naturally his speech was loaded with stereotypes and clichéd, bigoted remarks. He apologized to the Asians for constantly confusing them and even gave snaps to the "gays in wardrobe." This would have been better if he had delivered it more smoothly. Prisonmate.net - Whoa, a new commercial and Finesse was in it. Prisonmate.net is a new dating service allowing lonely women to find the man of their dreams - in jail. This really wasn't that funny but I did like the tagline: "Make your soulmate a cellmate." ESPN Sportscenter - Wait a second, Finesse was in this too. What's going on? Finesse was Stu Scott (he even had the squinty eye thing down) and Seth was Dan Patrick. They were interviewing Barry Bonds (Kenan). Pretty run of the mill, the jokes you would expect: "Boy, your head is big." The funny part came at the end when they interviewed the Giants mascot, Lou the Seal, and he was getting steroid injections in his backside. SNL Digital Short - Will, Andy, and Seth are all on lunch break and they decide to look for people that look just like them. Will and Seth are successful but they decide that a chubby, homeless guy (played by Horatio) is the guy that looks just like Andy. But only if he took his gloves off. So Andy pulled off the homeless guy's gloves and then Will shot Andy. Okay, I described this very poorly. All you need to know? It was really funny and you should try and download it. Two A-Holes @ a Travel Agency - Now this is how to properly handle a recurring character. I had completely forgotten about these two because they hadn't been used since Jack Black hosted back in December. Jason Sudeikis and Kristen Wiig play, that's right, two a-holes. Matt Dillon was the travel agent. This felt fresh and new, I laughed the entire time. This was definitely my second favorite sketch of the night. How to Order Sushi like a CEO - I hated this. Anyone else and it might have been better, but Matt Dillon could not deliver the lines properly at all. The only funny thing about this was at the end when the waitress (Maya) asked Mr. Douche if he would like his check. Apparently he thought "douche" was Japanese for his last name. Joplin Alive Podcast - This showcased only the four new faces. I love how much time they all got in this episode. Kristen Wiig especially. Bill Hader and Sudeikis are hosting their weekly podcast from a booth at their local Bennigan's. Wiig was the waitress and Samberg showed up as the town's resident party planner. Andy's French accent was hilarious and every time he said "pretty girls," I lost it. Weekend Update - Nothing really worth mentioning here. The jokes were flat and nothing really stood out. I suppose Will's "Sunni Shia Kurd" song was worth seeing but I still didn't really laugh at it. I don't know, WU needs a lot of help. Vincent Price's St. Patrick's Day Special - This was hands down my favorite sketch of the night. Bill Hader was Price and he nailed the impersonation. Actually I think everyone did. Even Matt Dillon as Rod Serling wasn't half bad. Bagpipes always make me laugh so that was a nice touch too. And as usual, Darrell Hammond can be anyone. When he came out as Don Knotts (as Barney Fife), if you closed your eyes you couldn't hear a difference. The Inner Harmony Relaxation Tape - This really isn't worth talking about. Not good. Appalachian Emergency Room - Same goes here. If you've seen this sketch at all before then you've seen this one. Same formula every time. The DiCiccio Brothers Unicornery - Very funny concept which was once again destroyed by Matt Dillon's inability act. Bill Hader was great as the sleazier of the two salesmen. They were selling unicorns though! I'd buy one. The Arctic Monkeys - I can't really figure out why these guys are so popular right now. I suppose that first song they played (I Bet You Look Good on the Dance Floor... I think that's what it's called) is all right, but it wasn't that catchy. Oh well, good luck to them I suppose. Ride the wave while it's there. One of the promos announced that Antonio Banderas is going to host on April 8 but no musical guest was attached yet.
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Post by Fuggle on Mar 14, 2006 9:38:31 GMT -5
Arctic Monkeys: pretty cool UK rock band releases promising debutEmma Zachurski, Online Entertainment Editor 3/10/2006Some people call them the hybrid of every Brit-rock group of the last few years, others call them the "Next Big Thing," and then there are those who dismiss them as another musical fad. But, the much hyped, England-based group Arctic Monkeys is really none of these things. They don't take themselves too seriously, and that's what makes them so fun; they make music for pure enjoyment, the kind that makes people tap their feet and clap their hands. The group may not have the most thought-provoking lyrics or complex melodies, but the Arctic Monkeys' charm lies in their simplicity. The group, led by the merely 19-year-old Alex Turner, makes music so catchy it's hard not to indulge in their enormously popular debut album, "Whatever People Say I Am, That's What I'm not." The album is mainly a dance-friendly ode to the young and reckless. From the heavy guitars of "The View from the Afternoon" to the final chord and energetically sung chorus of the hit song, "I Bet You Look Good on the Dancefloor," the Arctic Monkeys pack a CD's worth of energy into their two first songs. And yet, they still go on. With the rough guitars, blasting drums and sing-along lyrics of songs like "You Probably Couldn't See For The Lights But You Were Staring Straight At Me," "Fake Tales of San Francisco" and the confrontational "Perhaps Vampires Is a Bit Strong But..," it is clear that the band has a brand of relentless attitude and spirit. Each song challenges the last with a faster and more infectious beat. Those seeking a new sound, though, be forewarned. The Arctic Monkeys aren't here to reinvent rock, nor is this album capable of doing so. They're a young group — one that isn't trying to convince audiences otherwise. From their aggressively romantic lyrics to their basic, sometimes harsh, compositions, the Arctic Monkeys show their age. Over the chaotic resonant chords of electric guitars on "Still Take You Home," Turner confronts "I fancy you with a passion, you're a TopShop princess, a rockstar too/ You're a fad, you're a fashion and I'm having a job trying to talk to you," while on "Dancing Shoes," he refers to his love interest as a "sexy swine." Sure, it's immature, maybe even offensive to some, but the Arctic Monkeys aren't really about the lyrics. It's the music that helped them break the record for fastest selling debut record in the UK. Despite how chaotic their sound of gruff garage rock may be, the Arctic Monkeys actually do have the ability to control their raucous riffs — if not their wild hormones. Whether shifting between tempos on "When the Sun Goes Down," containing the bass-driven "A Certain Romance" or simply creating more intricate, engaging melodies with songs like "Mardy Bum" and "Red Light Indicates Doors are Secure," the Arctic Monkeys prove that they are indeed capable of making succinct and progressive music. As Turner reflects the frenetic tone of "From the Ritz to the Rubble" singing "They want, arms flying everywhere and/ Bottles as well, it's just/ Something to talk about/ A story to tell you," the band's essence is more clear then ever — they're both a group of spontaneity and of planning, they create music that is both frantic and well-constructed in its chaos. Unfortunately, with all these loud tracks, the Arctic Monkeys never really get a chance to shed their tough skin. The only exception to the otherwise guttural album is the track "Riot Van." Though the lyrics depict a messy situation involving the cops and protesters, there is a subdued quality to both the vocals and music. As the guitar softly strums and the vocals lilt over, the Arctic Monkeys finally reveal a softer foil to their tough-guy act. Whether they are here to stay or not, the Arctic Monkeys' first CD makes a rather memorable impression. While their music may not be earth-shatteringly original, it is enjoyable nonetheless. What's important is that the band is off to a good start and has all the time to progress in their writing — after all, it took years for even the Beatles to mature from "I Want to Hold Your Hand" to "Across the Universe."
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Post by Fuggle on Mar 14, 2006 9:40:52 GMT -5
Arctic Monkeys to miss singles trebleArctic Monkeys are set to sabotage their own chances of scoring three consecutive number one singles by releasing a five-track EP, which will be ineligible for the charts. The Sheffield-based four-piece hit the top spot with their first two major label releases, 'I Bet You Look Good On The Dancefloor' and 'When The Sun Goes Down', but are set to deny themselves a hat-trick of chart-toppers. The band have announced plans for a five-track EP in April with 'The View From The Afternoon' - taken from their debut album - on the A-side along with four new songs. However, chart rules state that singles can only qualify for the chart if they have a maximum of three songs on - meaning a five-track EP would not be allowed in the singles chart. Speaking about the proposed release, guitarist Jamie Cooke told NME: "We're dong an EP for the next single, whenever it's going to be. It's going to be new 'uns." Bassist Andy Nicholson added: "We're going to finish the new songs, then we're going to record them, then we're going to play them live and stick them on a CD. "It's probably going to be an external (sic) player, I'm not joking, five songs, and it's hopefully going be out in April. Fingers crossed."
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Post by Fuggle on Mar 14, 2006 9:43:20 GMT -5
AceShowbiz 2006's 11th Week Artist is Arctic MonkeysLONDON, UK (AceShowbiz)Take a look at the success of their first album ever, 'Whatever People Say I Am, That's What I Am Not', which has been sold for more than 360,000 copies in its first day of release, it is worth for AceShowbiz.com, an entertainment online website, to choose the indie rock band Arctic Monkeys as its Artist of the Week for the 11th week of 2006 (Please refer to www.aceshowbiz.com/music/artist/2006_11.html) Completed the album in September 2005, the high demand and the high pre-ordered number on the set reluctantly pushed the British music act to release the set on January 23, 2006, a week earlier than the scheduled date. A worth deed, somewhat, since such number of selling obviously makes the album the fastest selling debut album in chart history. Stole the limelight at the 2006 ShockWaves NME Awards, Arctic Monkeys gloriously nabbed 3 winnings out of 4 nominations, mainly for Best New Band, Best British Band and Best Track awards for 'I Bet You Look Good On The Dancefloor'. Had had their World Tour sold out in US alone, the British band was attached to later on perform in 'Saturday Night Life' on March 11, 2006 and proceed their music performances until July 8, 2006 in Kildare, Ireland. Enjoying the meteoric rise, Arctic Monkeys would probably be the next big thing in world's music industry.
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Post by Fuggle on Mar 14, 2006 9:47:05 GMT -5
Arctic Monkeys Play Roskilde
Arctic Monkeys have been announced to play this year's Roskilde. The Danish festival takes place between the 29th June and 2nd July, and already features acts such as Morrissey and Franz Ferdinand.
Meanwhile the 'Monkeys are reported to be releasing a brand new EP, 'The View From The Afternoon' next month, featuring brand new material.
For more information on Roskilde, please visit Roskilde Festival Official Site
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Post by Fuggle on Mar 14, 2006 9:49:10 GMT -5
West praise for Arctic MonkeysIndie sensations Arctic Monkey's have a new fan - American rapper Kanye West. The hip-hop star reserved special praise for the band's drummer Matt Helders, comparing him to Phil Collins. Arctic Monkeys have scored successive number one singles with 'I Bet You Look Good On The Dancefloor' and 'When The Sun Goes down'. West is currently busy promoting his latest album 'Late Registration', however the Sheffield based band still managed to catch his attention. West remarked: "The guy on the drums is real tight, man. He's got that whole British vibe going on and he brings that Phil Collins, Genesis sound to the table. "I can always tell if a band have a British rhythm section due to the gritty production."
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Post by Fuggle on Mar 14, 2006 9:50:44 GMT -5
Monkeying around with the Arctic Monkeys
By Cass Rains Commentary
Acclaimed by the British press, adored throughout the United Kingdom and now making a splash in the states with their U.S. release, the indie band Arctic Monkeys is now trying to top the charts here, just as it did across the pond.
The U.K. release of the band’s album topped the British charts and became the fastest-selling debut album in U.K. charts history, the BBC reported. The first single off their album, “I Bet You Look Good on the Dancefloor,” also shot to No. 1 in the U.K., as well.
Last month, “Whatever People Say I Am, That’s What I’m Not” was released in the states, and while it didn’t receive the same critical acclaim it did overseas, the Arctic Monkeys has created quite a buzz with its stripped down sound that echoes elements of classic punk and modern alt-rock.
The group lists influences such as The Smiths, The Clash and The Jam on their myspace.com site but echos modern groups such as The Strokes and Fallout Boy.
The fast-paced “I Bet You Look Good on the Dancefloor” uses simple chords and drum beats to hammer home the sound of track. With a few guitar solos interspersed in the track, it’s still able to pound home sound of the group.
“Riot Van” hits the brakes on the band’s tempo and showcases the vocals of lead singer and guitarist Alex Turner. Softer, sadder and featuring more musicianship than any other track on the album, “Riot Van” is the track that made me realize this group has something special that I still can’t quite put my finger on, yet.
“Still Take You Home” and “Red Light Indicates Doors Are Secure” use plucky guitar riffs and lyrics more spoken than sung.
The group covers the range of its styling, walking the lines between hard-core punk and classic British pop, between modern alt-rock and the impending doom experience by Oasis.
The 20-something Arctic Monkeys members may not have the hooks like, say, Clap Your Hands Say Yeah or the sultry vocals and experienced skill of Cat Power, but they do have something.
Each listen of the album brought me closer to realizing the sure raw potential the band has, as well as the talent it exhibits using essentially guitars, a bass and drums.
For an indie debut, “Whatever People Say I Am, That’s What I’m Not” blows other groups’ first releases out of the water.
The 13-track album is definitely worth picking up if you have the time to invest in Arctic Monkeys.
Don’t expect to be instantly blown away, but, instead, wait for the music to come creeping back into your mind while performing the menial tasks of the day, and you’ll find yourself humming “Mardy Bum” in an elevator or while getting groceries.
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