#arctic monkeys lyric analysis

[misskattylashes]

Does anyone else think the 'curiosity' in Do Me A Favour, is about...you know....boys?

[grey-tumbles-and-falls-down]

hello arctic monkeys tumblr, here is some of my craized lyric rambles

i have more, *kicks ground* you know... if you cared and wanted to see them *kicks ground*

[misskattylashes]

Yes!! I always thought AM was a concept album about loneliness

actually if u squint hard enough even AM is a concept album

[danishphoner]

personal lyrics theories series (2/?): there’d better be a mirrorball - arctic monkeys

[franklyimissparis]

mr schwartz: a line-by-line queer-coded lyrical analysis

warning: this is quite long but mr schwartz is one of my favourite songs off the car album (and one of my favourites of alex’s in general) and i’ve ALWAYS read it as super queer but have yet to dive into precisely what makes it queer and the themes within it. it’s TRULY such an understated lyrical masterpiece.

Put your heavy metal to the test

- this is a play on words of the phrase ‘test your mettle’ which basically means to see whether or not someone will carry on through something that is difficult. immediately, this indicates that the relationship between alex and the other person is a difficult one and requires strength/determination to move forward with

- it also could refer to heavy metal music (which isn’t a very traditionally romantic genre) as is played off of in the next few lines

Might be half a love song in it all for you

- the phrase “half a love song” is particularly interesting to me as there are many ways to take it: it could be half a love song because it is unfinished or because it isn’t fully a love song (and both interpretations tie into other lyrics in the song)

- if we go down the route that it’s only half a love song because it isn’t fully a love song, it implies that there is more to the relationship than romance or that the song/relationship isn’t meant to be viewed (solely) through a romantic lens (but the other person may see it as such)

- whereas the idea that the song is unfinished could either suggest a lack of passion or the feeling that the story isn’t done yet.

- it could also communicate that the someone else needs to finish the song for alex - which is somewhat implied in the previous line. this could also indicate that, like alex, the other person gets musical inspiration out of their relationship

Timing wise, it’s probably for the best

- the use of “timing” ties in with the musical references but also highlights that the relationship is heavily tied to the timing of what’s going on in their lives (invoking “right person, wrong time” in a way)

- alex is acknowledging that because of forces outside of their control (i.e. time) it’s probably best they don’t pursue a serious relationship (or, like the previous line, a “full” love song)

Come here and kiss me now, before it gets too cute

- he’s asking his lover to quickly kiss him before they can let the moment become sweet, implying that, while he is fine with the physical aspect, the emotional side of things makes him uncomfortable

- musically, he also wants to avoid being cheesy or overly sentimental which ties in thematically with the ultracheese as well

- it’s important to note that this is also the only explicitly romantic line on the entirety of the car album: this (and the half a love song line) is the only line on the album that cannot possibly be read as platonic

Mr Schwartz is stayin’ strong for the crew

- here we switch to discussing the persona/character of mr schwartz, which as seen later, is obviously meant to be an extension/alter-ego of alex himself

- the reference to “staying strong for the crew” directly after talking about his lover implies that there is a conflict between the two: that staying strong for the crew entails keeping an emotional distance from his lover

- he recognises that those around him rely on him to keep up his persona to do their jobs (in this extended metaphor of a film set)

Wardrobe’s lint-rollin’ your velveteen suit

- alex is known to emphasise his personas via clothing choices and the velveteen suit is representative of that here. the crew removes any imperfections, like the lint, off of the suit (the persona)

- this also ties into alex’s obsession with perfectionism and control and how, though he is wearing the suit (i.e. persona), there is a mutual reliance between him and the “crew” to maintain his image

- also have to mention that velveteen is a rather untraditional material choice for something as traditional as a suit, there is a bit of a clash here between the two (a fully velveteen suit could also be seen as quite camp - and is also very 70s, which ties into eycte’s aesthetic too)

And smudgin’ dubbin on your dancin’ shoes

- dubbin makes leather softer and waterproof: again, others are trying to prevent damage from occurring to the persona

- this could also refer to the musical direction that the band has gone to in tbhc and the car: their music is softer and more contemplative than it was before, especially since ‘dancing shoes’ is also a song off of their first album. this could be commentary on how alex’s personas have evolved and the mixed reactions he’s gotten from his audience over it

Gradually, it’s coming into view

- we move from music imagery to film imagery with the line “coming into view”.. things were blurry or unclear before but he (or the other person) are slowly coming to realizations about their situation

It’s like your little directorial debut

- having a directorial debut suggests that this is the first time they are taking control of a situation and telling others what to do, they are directing someone else instead of being directed - with the word little being used to emphasise that this isn’t a massive change yet

- but he’s also directing himself to behave in a certain way: alex is directing his new persona, mr schwartz, in his debut

As fine a time as any to deduce

- to me this line also implies that this realisation has sort of been a long time coming, they’ve been through this cycle so many times that they might as well come to the realisation now

The fact that neither you or I has ever had a clue

- going into the next verse as well, this hints that alex and his lover have had struggles with seeing where alex ends and the persona begins and have also never been able to get their relationship right as a result

And if we guess who I’m pretending to be

- here he is confirming what is obvious: alex is mr schwartz and the persona is clearly differentiated from himself as “pretending”. alex and his lover are both keenly aware that mr schwartz is a persona which almost becomes a joke to them in the next line

Do we win a prize?

- alex pokes fun at how obvious it is to him and his lover that mr schwartz is a character but i think he’s also pointing out here: do we get anything out of the persona that i’ve created?

- he’s questioning, perhaps for the first time, if in the end keeping the persona up will be worth it to him and his lover or if it is all meaningless

Having attempted twice, both incorrectly

- okay so obviously the majority of us reading this are immediately going to go to a certain side project of alex’s and the two albums they’ve released (with talk of there being a third to complete the trilogy)

- this suggests that there have been two attempts at happiness between him and his lover but both times there was something fundamentally wrong with the relationship that caused them to drift, which is likely related to the act that he is putting on

Do we get a third try?

- the phrasing on this line is interesting as well as alex doesn’t ask his lover directly like “can we have a third try?” instead, he poses this question more existentially: will a third try be given to the two of them? it implies that he and the other person aren’t in control of their situation to some extent, they have to rely on being given chances by others.

- though this also could be interpreted as alex shirking responsibility of the situation onto others instead of being straightforward. he simultaneously wants and does not want control.

The gloved hand’s reachin’ in to hit the switch

- by wearing gloves, there is the desire to avoid leaving fingerprints/evidence of the relationship. and because the hand is gloved it is intentionally anonymous: is it alex’s hand? mr schwartz’s? the other person’s? or someone outside of things meddling in the relationship?

- interesting also that a switch is a binary thing: either on or off (gay or straight, platonic or romantic, alex or mr schwartz) ignoring the possibility of things being on a more complicated spectrum as is implied earlier (“half a love song”)

- hitting the switch is sometimes used as a euphemism for triggering a permanent change but can also be seen as a temporary action (the switch can be endlessly turned off/on), highlighting the back and forth in their relationship.

There’s not one goddamn thing that you can do about it

- this is the only time alex curses in the song which highlights how frustrating the persona and lack of power can be

- he feels stuck in the situation, just continuously flicking the switch between persona and reality, and indicates that his lover is also likely frustrated at this too. though they want to help fix the situation, they can’t, or at least they feel like they can’t

But Mr Schwartz is havin’ tea with the grips

- again, he’s switching back and forth between the real him and mr schwartz: while alex is frustrated and insecure about the lack of control in his life, mr schwartz charms those around him and takes hold of the situation

- more film imagery with mentioning the grips (those who help with camera and lighting equipment on a film set): to me, this line is fascinating as we’ve seen that everyone (including the crew) is working towards keeping the mr schwartz persona up and through the metaphor of the film set they are creating something imaginary, however, behind the scenes the grips still get to be real people with real families while alex, or mr schwartz, has to continue to keep the persona up.

Askin’ after all the wives and the kids

- the use of the phrase “askin’ after” instead of “talking about” etc. implies that the question is not mutual: mr schwartz is not being asked about his wife/kids because he does not have any and the others know it. yet he knows that it is important that he shows interest in their nuclear families. this is also clearly commentary on how alex is the only unmarried and childless member of the band

- it could be seen as him directing conversation away from his personal life: focusing on others and letting them talk is more comfortable than discussing yourself honestly and breaking the act

It’s at the heart of what the business is

- the final line of the song breaks down the essence of why the persona is kept up: ultimately, it is a business decision. alex understands how closely tied together business and personal lives are as a celebrity and is invested in the persona to keep the two separate, though by choice or force is up for debate

- also poses the question of whether or not he’s genuinely interested in their lives or if it is just business to him. it could be read as bittersweet in the sense that the heart of the business is human connection, but if you don’t conform you aren’t allowed to drop the act without punishment

- finally, this line also ties back to “staying strong for the crew”: he has to keep up the persona so that the ‘crew’ can continue to work and take care of their families. and hearing about them is both a reminder of what he is denying himself and what is at stake for the others.

to summarise: alex is torn between putting on the straight persona of mr schwartz and being truly himself within the fractured relationship he has with his lover - which has been heavily influenced by external and internal pressures. gee i wonder who the song is about (rhymes with schmiles schmane.)

[tryandwalkonwater]

ooops i accidentally wrote a whole essay about my theory on why alex wont be coming out as long as hes in the arctic monkeys would anyone want to read my unhinged rant tho... ?

[misskattylashes]

After the Glastonbury performance of I Wanna Be Yours/Star Treatment, I think this could near the mark. Alex was clearly emotional singing it, and Jamie, Matt and Tom all appeared to be tearful, and this comes a week after their reunion with Miles in London. I could speculate why but it's useless because we'll never know

Ah... I feel a bit strange doing this. Might just stay in the drafts forever. We'll see. But my hands itch to do it every single time I listen to the song so... So here's a lyric analysis of "Star Treatment" and how... it might?... be? A song... About... Miles Kane?? Maybe??? 🫣 (no executions please. I'm really not trying to push this narrative. These things just kind of jumped out at me & I felt an urge to write it down somewhere. And perhaps see if anyone agrees? Comments encouraged! If anyone ever stumbles upon this silly thing) This will get long... Cause that's who I am. And also it references other songs.

Disclaimer 1: I did see someone attempt this on reddit. It was a bit out there though... And maybe ironic? I do share a thought or two with them though.

Disclaimer 2, an Important one: this does rely on an implication that there was something more between the two sometime around/ between 2015-2017ish? I don't want to put any labels and try to stay away from any too specific guesses. But well, I suppose I do kind of personally believe there was something there. If you're not a fan of theories about private lives of real people... I'm sorry. This one's not for you. I really do try to do it as respectfully as possible though. At the end of the day - it's just a theory. And not a mean one. I understand it's all just something that fits together in my head and may be very far from any truth. Disclaimer 3: I know this album is a concept album centered around characters. But I'm analyzing the second, potential autobiogrophical hidden layer beneath the obvious first meaning

Okay, let us have a whack at it now:

I just wanted to be one of The Strokes Now look at the mess you made me make Hitchhiking with a monogrammed suitcase Miles away from any half-useful imaginary highway

This one is very on the nose. But quite literally sneaking in his name in the lyrics -- maybe? we know Alex loves playing with many meanings/hidden messages & double entendres. + the being away from any half-useful imaginary highway makes me think of when he spoke about the fact that he couldn't write any more love-related matarial after EYCTE. And someone encouraged him to just go a different route. That's how TBHC was born. But also implies some trouble in the love-related ascpects of his life around the time. Could've just been trouble around Taylor - who he broke up with soon after the album's release. There's theories about how that happened [current girlfriend invloved] - but maybe there was even more confusion & heartbreak in the mix (ending a tour with someone with whom the lovey-dovey jokes may have gone a bit too far/serious?)

I'm a big name in deep space, ask your mates But golden boy's in bad shape

this is just implying any sort of broken-heartedness.

I found out the hard way that Here ain't no place for dolls like you and me Everybody's on a barge Floating down the endless stream of great TV 1984, 2019

dolls = puppets. And how the industry / society isn't a good place for relationships like this. (People wouldn't understand the type of bond they share?)

Maybe I was a little too wild in the '70s Rocket-ship grease down the cracks of my knuckles Karate bandana, warp speed chic Hair down to there, impressive moustache

Miles and Alex have spoken many times about how their first album was heavily 60s inspired - Scott Walker, The Beatles, 60s Morricone.

What may be less obvious and spoken about is how EYCTE was sort of meant to take their work into the 70s. He spoke about it in an interview when asked about the album cover. It's a 1969 photo of Tina Turner - which Alex commented on by saying: "The idea was to move the artwork on from the ’60s feel of the first Last Shadow Puppets album artwork, so here is Tina on the very cusp of the 1970s" (They also chose to sing covers like Moonage Daydream and Is This What You Wanted during that tour. Both 70s songs from artists that defined the era). So this could be him reflecting on the EYCTE era and how things may have gotten a bit too far during the time. Going in to deep, crossing some boundries and definitions?

Love came in a bottle with a twist-off cap Let's all have a swig and do a hot lap

alcohol? pills? alcohol & or drugs clouding some judgement/helping loosen up and causing the crossing of certain [friendship] boundries?

So who you gonna call? The Martini Police Baby, that isn't how they look tonight, oh no It took the light forever to get to your eyes

It's not a particularly meaningful line in terms of this narrative - but I wanted to talk about it because I find it so beautiful but also so fuck*ng sad. Like - one of he saddest lines I've read. It just hit me in the heart straight away when I heard it. I feel like my personal interpretation is dead wrong. But still choose to see it that way. I also know of the story of how it's inspired by Alex's dad telling him about how we see the light of the stars the way it was in the past bc of how long it takes to reach us. The way I hear this line though is: seeing the bottomless sadness in the eyes of someone who had their heart broken. Someone whose eyes used to be full of happiness - and now it takes forever for any touch of happiness to show up in their gaze. Now a possible interpratation for a second meaning to this whole section could be: calling the martini police = grabbing a drink to help with hearbreak, when there's no other solutions left. Miles has sang in his breakup album Coup de Grace about how he drowned the sadness after hearbreak in alcohol and pills. Mixing stuff together like a mad scientist etc. (Also if you ever saw the interview he did with [the one and only] Martin on his CDG album... Oof... Yeah. There was no light in that man's eyes. Even Martin saw that pain and commented on it. It's a tough one to watch)

I just wanted to be one of those ghosts You thought that you could forget And then I haunt you via the rear view mirror On a long drive from the back seat

This is one of these sections that hits me the most. Cause to me it can be seens as: Alex being aware of how much pain he caused - all he could wish is that he was just another lover whom the hearbroken person [Miles?] could forget. But alas - he still haunts him. Here it gets interesting (or batshit crazy. Cause I might be). Beacause the use of "ghost" just absolutely sends me to Miles' song "Shavambacu" - where he describes the eyes/thoughts of an ex lover still being focused on him after the breakup (this song though could have a whole seperate post of it's own) While "haunting via a rear view mirror" made me jump up and recall lyrics from Miles' song "Dont let it get you down". I saw your reflection, in The backseat of a Chevrolet from Hollywood to East LA NOW - don't shout at me. I know timelines are important. Because Shavambacu and Star Treatment came out around a similar time period. But Shavambacu came out a little bit later. While DLIGYD came out completely after all of hits - this year. So first off - I'm considering the fact that Miles and Alex are clearly still friends and in contact. So could have shown each other songs earlier. But more plausible theory: if these songs are perhaps maybe inspired by one another - they clearly are gonna recall events and/or inside lingo and jokes they both used. Possible situation: post Miles-Alex hearbreak Miles stumbled upon Alex going somewhere in a car. They spotted each other. this also makes me recall the whole:

Swear I saw you smile You try to hide it well 3:15 on the wrong side Columbia Street line from "Killing the Joke". Which many think references the area that Alex lives in. They lived a few minutes away from each other around 2016-2017. So would obviously run into one another often. Even if they were going through something and taking a break/trying not to.

But it's alright, 'cause you love me And you recognise that it ain't how it should be Your eyes are heavy and the weather's getting ugly

This one is also way to sad if you place it in a relationshippy context. There's a few ways I see it: 1) it's alright - no matter what happens, because A. knows M. loves him and will understand why things ended like they did. It shouldn't be this way - but it has to be, because there's things standing in the way. He believes he'll understand despite the grief. 2) dramatic, sad version - the "it ain't how it should be" actually references the "love me part". So M. should understand that things ended because they shouldn't love each other this way. It's just now how it should be and A. believes M. recognises that.

So pull over, I know the place Don't you know an apparition is a cheap date? What exactly is it you've been drinking these days?

once again referencing bumping into each other randomly? And going with it - going some place; talking. Maybe about how Miles' is doing, the heartbreak, how he deals with it - the alcohol (once again - just referencing what he himself sang about in lyrics on his breakup album)

Jukebox in the corner, "Long Hot Summer" They've got a film up on the wall and it's dark enough to dance

"Long Hot Summer" - by The Style Council is actually a song Alex cited to be one of the main references/inspirations used when working on the EYCTE album. So is definitely a nostalgic/meaninful song between the two. They go to a place after bumping into one another - there's a jukebox with a nostalgic song. They can dance together - because it's an incognito, dark place.

What do you mean you've never seen Blade Runner?

Now the Blade Runner line is so clearly Taylor Bagley (the woman is a huge, huge fan of it, apparently) it did have me stumped for a while. But then - maybe it's a clarifying line? Like - if this were about Taylor he would definitely not say that to her. It's obvious she's seen it a million times. Maybe this is here to sort of clarify this?

Oh, maybe I was a little too wild in the '70s Back down to earth with a lounge singer shimmer Elevator down to my make-believe residency From the honeymoon suite Two shows a day, four nights a week Easy money

70s again - EYCTE era But after the tour ended it was time to go back to earth, back to being non-TLSP Alex. Running away from reality into writing music - writing about a make-believe residency (Tranquility Base) Time to leave the honeymoon era = the tour and shows TLSP had together. (also AM may be easy money? Their reputation [very well deserved] makes it so that it's easy - bc anything they come out with will be bought)

So who you gonna call? The Martini Police So who you gonna call? The Martini Police Oh, baby, that isn't how they look tonight It took the light absolutely forever to get to your eyes

...

And as we gaze skyward, ain't it dark early?It's the star treatment Yeah, and as we gaze skyward, ain't it dark early? It's the star treatment It's the star treatment The star treatment

a sad ending. It got dark. A bit too early. It's sad that it all ended. But that's how it has to be - in show buisness, in the industry. They're well known people and it could hurt their careers - also it would just get out easily, so there's no room for self-discovery and just trying it out. That's the star treatment. (This is also a theme I am seeing in Mr. Schwartz lyrics. But that's for another time) Am I crazy? Probably! Is this just accidental elaborate fan fiction? Maybe! But still...I don't know. Song theories are fun. I get that morally it's a gray / or maybe even red area - talking out loud, publicly about theories invloving specific names and relationships. But like... Sue me! Let's call it a guilty pleasure. If anyone ever reads through this wall of text... Hi! Thanks and sorry. And please share some thoughts! (Eh. May just delete this soon anyway) Peace and love

[carefulignorantghost]

Lyrics I feel like are about Taylor Bagley that aren’t obvious

“I’ve done some things that I shouldn’t have done. But I haven’t stopped loving you once.”

I feel like he wrote this while he was cheating. I don’t think the rest of the song really relates to Taylor, but I feel like this line does.

All of “There’d Better Be a Mirroball”

It’s written from Taylor’s pov. She’s telling Alex to not get emotional cause that’s not like him. And the mistakes he made yesterday are affecting today. Taylor promised herself she wouldn’t show how much she still loved him, but she can’t help it. She wants Alex to walk her to the car even though she’s heartbroken. Alex is getting cynical that she loves him and cares. Taylor would put the romantic front back on if she were him. Taylor is sarcastic with the “How’s that insatiable appetite” in referral to the cheating. “For the moment when you look them in the eyes/And say ‘Baby, it’s been nice’” is about telling Taylor it’s been nice and breaking things off with her instead of the girl he cheated with, who may very possibly be Louise.

“Whilst wondering if your mother still ever thinks of me.”

I think this one is quite obvious.

The song “The Car” is about reminiscing the whole situation “There’d Better Be a Mirrorball” is about. Thinking of the love he lost with Taylor. She was what he wanted to fetch from the car.

Am i crazy

[perfectly-clear-from-here]

omg please actually make a list of mk/am parallels or them talking to each other through lyrics ughhhh that would be everything xx

(i'm glad you asked cause i definitely would have forgotten to post this!!)

firstly I'm very aware that most of these could be completely coincidental but this has been sitting in my notes for too long:

Don't you come crawling back to me - Get Right - MK

Do you want me crawling back to you? - Do I Wanna Know - AM

Oh how I feel, I feel you don't love me no more - Wrong side of life

But I haven't stopped loving you once - The Ultracheese

I've said some things, I've made a mess - Troubled Son

I've done some things that I shouldn't have done - The Ultracheese

Until our falling thoughts cascade together / Telepathy to the rescue / Just look at me and I will let you know - Telepathy

So predictable, I know what you're thinking - Body Paint

I saw your reflection, in / The backseat of a Chevrolet from Hollywood to East LA - Don't Let It Get You Down

And then I haunt you via the rear view mirror / On a long drive from the back seat - Star Treatment

But before the night is over / I’m gonna try and blow your mind - Woman's Touch

He was born to blow your mind / Or something along those lines, tonight - Miracle Aligner (TLSP)

and i think i'll end it (for now) with their not-so-subtle descriptions of each other:

Interstellar, dressed in leather, drinking bitter boy - Killing The Joke

Your saw-toothed lover boy was quick off the mark - Jet Skis On The Moat

(i've forgotten half of them ahh!)

[prettyyvisitor13]

body paint | song analysis

my interpretation of body paint!! i just tried to explain whats in my head. you might agree or disagree, and i wanna say im not forcing you to believe me at all! also i talk english in the most basic way lol its not my native language so some parts you might even laugh at my sentences aksksk anyway, i hope you enjoy it <33

[misskattylashes]

Okay American Sports ...

Muscular Regrets.....do you think he is talking about men?

Also 'exploding behind the eyes' is often used in literature when describing orgasm....

[maybemoonout]

"Get freaked out from a knock at the door

When i haven't been expecting one

Didn't that used to be part of the fun

Once upon a time?" - Ultracheese

"Well we were kissing

It was secret

We'd had to sneak beyond the kitchen

Both well aware that there'd be trouble" - The Dream Synopsis

I can feel the same energy and i have some thoughs about it

Hi there anon! It took me a little bit to get what you were seeing but once you said it I saw it SO CLEARLY. I can sort of understand the similarity you're seeing. I'm not sure if what I'm getting from you is the same thing you're actually seeing, but from what I understand: Get freaked out from a knock at the door When i haven't been expecting one Didn't that used to be part of the fun Once upon a time? and Well we were kissing It was secret We'd had to sneak beyond the kitchen Both well aware that there'd be trouble

both are saying something secret is happening? Like he gets freaked out when there's a knock because hes doing something no one should see, but the thrill of it used to be part of the fun? And of course the next lyrics are self-explanatory. If I did get what you're seeing, then this is definitely an interesting way of seeing it. If you have read this analysis on The Ultracheese by @yellowloid (if you haven't, please do, it's a really good read) but basically even if you haven't read it you can definitely hear the sadder undertones it has. Although The Dream Synopsis is also quite sad in a sense, I think the idea of both is a bit different, especially comparing the eras he wrote these in, TDS being in ETYCTE Era and TU during TBH+C. Now if we look at it from a MILEX persepective (by this I mean imagining that it was written with the Idea that Miles is the subject of both songs) we could probably shift the ideas a little more. TDS was written during ETYCTE Era, written WITH Miles, so I can't really be fully convinced this song is about him, although a few aspects definitely are about Miles (e.i. "It was you and me and Mile Kane DOES IMPLY Alex dreams about Miles HAHAHAH) I don't think I'm the right person to analyze that one. I have also seen before that possibly the first verse, the lyrics you mentioned, are likely about Taylor, but who truly knows other than Alex right? If anyone wants to make a song analysis on TDS, be my guest and I'd read it to its entirety. THE ULTRACHEESE THOUGH? Different story ENTIRELY. I might be a little biased because I have read the mentioned song analysis above, but if we consider the period this was written as well I definitely think its a little more likely that this song is about Miles. What I personally believe from that verse (Milex Perspective or not) is that possibly he's no longer used to having someone that constantly visits him. The teenage years have gone by, and although he definitely still has fun, it's just not the same as before, hence, when someone does continue to bring that aspect back into his life, it freaks him out, but then realizes shortly after that, that he used to like it, it used to be fun, long ago, the thrill and the adventure and just having someone be comfortable enough to visit him without needing to call or text before hand. Someone he's.... REALLY COMFORTABLE WITH.... I definitely think a lot of Alex songs continue of off each other, like how the car continues off from TBH+C in a way. TBH+C was the next album after ETYCTE after all and although they are technically different bands they're still the same Alex Turner. I like to think Alex always just sings about his experiences in this convoluted cynical, but beautiful way, so it's definitely possible that whoever he was writing about, still continues on to the next thing he does. Do I think TBH+C is more about Miles than songs in ETYCTE? A little bit yes, in a Milex perspective of course. But, even after all of this, please realize, I'm just a small little boy whose opinion doesn't really matter in this sense because I am not Alex Turner. Art leaves us to our own interpretations and YOUR interpretation is as important as MINE. Songs are meant to be enjoyed the way we view it. And I definitely see your point as well anon! I'd love to hear back from you if you wish to keep explaining your point of view because honestly, it's quite an interesting one that I think should be explored! Kudos to you for making me think really deeply, lol. Sorry if I this wasn't really the reply you were hoping for! I'd love to hear back from you and discuss some more <3ec

[depressedraisin]

fire and the thud is such a. brain cell tickling song.

it is always touted as such a Love Song and it is- when u take “if you're gonna tell me where i'll meet you there” and “i did request the mark u cast to not heal as fast” out, it's like awwww how romantic <33333.

but the song as a whole. has such a...... sense of foreboding????? like the narrator *knows* shit is about to hit the fan soon. they (and the lover) are at a crucial turning point and they are about to do something big. but the narrator can see the tingly feeling of doubt and insecurity coming from a mile away. but they ain't doing anything about it. they're just letting themselves fall into it headfirst, the insanity of love probably. it's an unsettling vibe lmao.

a lot of other alex turner love song narrators share this as well, i feel. like they are aware they might end up doing something stupid or that they can't think or act clearly, and that the lover is someone who has that sway over them. and they whole heartedly welcomes that. he *will* sneak a "be cruel to me, 'cause im a fool for you" in the sweetest of songs.

[racing-stripes]

all of you are wrong the mirrorball is not miles it's alex's "prize" for being famous & The Car, with all its introspection and self-reflection, functions as a goodbye album even if it isn't the arctic monkey's final one.

so basically. most if not all of the car is by alex TO alex (with notable exceptions). alex has never had a chance in his life to Not be famous- i mean, whatever people say i am was the fastest selling debut album in british history, and the bands' fame has only skyrocketed from there.

so alex, who has never not been famous, doesn’t know what his "prize" should be for going through all of it, he doesn't know what he should aspire to anymore. the mirrorball is some sort of consolation prize for going through so much. some vague thing he can Win once and for all, to say he deserved it.

for specific lyric analysis:

"don't get emotional, that aint like you"

an expectation of him imposed by an audience. more later.

"yesterday still leaking through the roof / but that's nothing new"

this sets up this album's theme of self-reflection. alex is acutely aware of his past and how he's changed. again, more later.

"i know i promised this is what i wouldn't do / but somehow giving it the old romantic fool / seems to better suit the mood"

i think this song, if not all of this album, is reflecting specificially on the audience's expectations of him around AM era (& after with tbhc, how he defied those expectations). he was a sex symbol, a "golden boy," the epitome of a romantic writer. after AM, he didn't want to do that anymore-- the "promise"-- but he's still an "old romantic fool."

"so if you wanna walk me to the car / you ought to know i'll have a heavy heart"

the car in this album comes up a lot (obviously, lol). i think the car is not a person. it's his escape from fame that he's after, his way out. but the fame is all he's ever known, and he's come to appreciate it, hence the heavy heart.

"so can we please be absolutely sure / that there's a mirrorball?"

the mirrorball is phrased like his reward for escaping that he'll get once he reaches the car. and i don't understand much beyond that, but i think it's nebulous on purpose. the mirrorball is what will make him feel okay, heal his "heavy heart." maybe it's a person, sure, but i think the important part is how he's itching to escape his fame.

"and how's that insatiable appetite / for the moment when you look them in the eyes / and say 'baby, it's been nice?'"

i've been stuck on this lyric for a while because of its romantic undertone with the "baby" and how it reads like the ending of a romantic partnership. but in context of him wanting an escape from the expectations and perceptions of an audience, i think it makes sense as the fantasy of saying goodbye to an audience once and for all. and this is def a fallacy although i'm not sure which one-- but doesn't he enjoy calling his audience at shows "baby?"

other rant which is probably incorrect or problematic in other ways because of how much intent it's attributing:

in the context of his alter egos, wouldn't it be fun to picture a mirrorball as the parts of his "fractured identity" making up a whole?

all the tiny pieces of mirror, all fracturing light slightly differently, making up one whole collective but fractured identity..,

[franklyimissparis]

jet skis on the moat: a queer-coded line-by-line lyrical analysis

this one was highly requested by me, myself, and i btw. sorry it’s so long, i truly cannot be concise when analysing alex’s lyrics, i get too into all of the different possibilities lmao.

Jet skis on the moat

- the titular line of the song is an interesting juxtaposition that could be interpreted in many different ways as jet-skiing, an adventurous and adrenaline-seeking activity, is contrasted with the defensive confines of a moat. the moat could be a metaphor for alex’s defenses around himself and his feelings, with the idea of jet-skiing around a moat being akin to doing something that should be fun and freeing while in defence mode.

- it could also imply that things are going in circles, like moats often do. that they’re having a good time but they aren’t able/willing to explore beyond the safety and comfort of their private spaces.

- to me, the phrase also invokes the idea of both being kept close to home (and never allowed to explore without inhibitions) but also being forbidden to enter fully into alex’s inner self

They shot it all in CinemaScope

- cinemascope is a lens adapter invented in the 50s for projectors that can expand the traditional screen to a wider length while using the existing equipment. we know that alex loves film imagery and this ties into the themes he often plays at while using said imagery of performance vs. reality.

- the use of cinemascope also implies to me the idea of making something (or someone) better for a bigger audience - this could tie in with alex’s personas and hiding the true self or referencing the band’s commercial successes. it also implies that there’s something beyond the traditional screen, the picture (or story) stretches out further than is seen with a normal lens. the idea of the lens being removable is also notable, the picture can be seen either way with the original equipment but the lens makes it more impressive. again i think this all ties in with the idea of performance and choosing to present things in a certain light.

- “they” implies that there is an audience or crew watching alex and the subject of the song, the two of them are not shooting this together, it’s being captured by a third party who is presenting things differently than originally intended

As though it's the last time you're gonna ride

- i can’t talk about this line without addressing the sexual undertones of the word “ride” lol. it could refer to the sexual aspect of their relationship, the last ride being the last time they’ll sleep together, or the relationship itself as if this is a couple who has split up and gotten back together multiple times

- with the previous line as well, it implies that the experience of their relationship is being captured (potentially by others) to preserve it, though they don’t see the full picture

- the phrasing “as though” is vague enough to leave it up to interpretation as to whether or not it actually will be the last time, somewhat implying to me that calling it a “last time” is something they’ve done before

- this could also refer to the public and private speculation that the band is finished or the somewhat unfounded worries that their commercial success is slipping away

Showstoppers anonymous

- this is a play on alcoholics anonymous/narcotics anonymous and implies that being a showstopper is somewhat of an addiction. it also invokes the idea that this isn’t a solitary experience by referencing the idea like a group meeting, alex’s lover also has a complex relationship with fame.

- the phrase could also poke at the idea of alex’s personas being disconnected from his true self, the showstopper would actually prefer to be (or has to be) anonymous in some sense.

- like in AA meetings, this could also refer to hiding their affiliation from the world or hiding their true identities within these meet-ups

Come over here and give your buddy a hug

- the word “buddy” implies a platonic relationship (i would say it also implies a friendship with another man but that’s very subjective.) with the later references to this person as a lover, we can infer that their relationship is not just platonic which poses the question of why alex would choose to refer to a lover this way. it could be to emphasise the friendship at the core of the relationship as being the more important or prominent aspect. it could also suggest that alex finds the romantic/sexual elements of the relationship uncomfortable to some extent.

- interestingly, this line is also a direct parallel to “come here and kiss me now before it gets too cute” from mr schwartz, suggesting a connection between the two. while this line can certainly be read as platonic, the line from mr schwartz is explicitly romantic.

- also the first two lines of verse one rhyme, making the listener expect these lines to rhyme as well. in alex’s pronunciation, anonymous would be a near rhyme with kiss and it is slightly surprising to hear hug instead.

So much for decidin' not to let it slide

- it sounds as though either alex or his lover feels that the other did something to wrong them which they refuse to forgive this time, but they end up ‘giving in’ eventually.

- in the context of the showstoppers anonymous line, it could imply that their relationship feels like enabling an addiction, that it is something they come back to time and time again despite saying they won’t. and also that their relationship is directly tied to the fame that they share.

- also interesting to ask: is he addressing himself or his lover? is he the one letting it slide or his lover? the previous line seems to imply that alex is asking the other person to come to him, which could imply that his lover is giving in for agreeing or that he’s giving in by reaching out (or both.)

Is there somethin' on your mind

Or are you just happy to sit there and watch While the paint job dries?

- alex’s lover is troubled over the state of their situation but it’s less painful to just ignore the topic.

- the paint imagery is very interesting as alex has a habit of using paint as a sexual metaphor for a certain bodily fluid - with ‘body paint’ and also in anyways (‘you go hard in the paint’)

- watching paint dry generally refers to something being boring or tedious which could imply that alex’s lover would rather do something painfully dull than discuss the issues in their relationship. but paint can also be used to cover things up which could refer to the idea of hiding the issues within the relationship or with hiding the relationship itself (asking: are you really happy to just let me hide things or will you take a stand?)

- if we think about the implication that this relationship has been off- and on-again, it could refer to ‘fixing up’ the relationship with a new coat of paint - doing surface level things to try to repair the damage - and alex could be asking if they’re willing to wait for things to look better again or if they want to call it quits now

When it's over, you're supposed to know

- this line could also be taken in many ways. it could be in the sense of alex feeling almost pitiful for his lover (or himself), who won’t admit that their relationship is actually over. but it could also refer to it being hard to tell whether the relationship is actually over or not - particularly if the line between having a platonic/romantic relationship has always been blurry with them (like we see with the use of “buddy” etc.)

- the phrasing ‘supposed to know’ implies that they don’t actually know about the state of things, though they’re both aware that they should, also reminds me of the line “the fact that neither you and i has ever had a clue” from mr schwartz

Lights out in the Wonder Park

- i couldn’t find anything to suggest that the ‘wonder park’ refers to any real place so i would wager that it’s alex’s take on a fictional amusement park as a metaphor for the ups and downs of his relationship with the other person.

- the idea of the lights going out in contrast to the “wonder park” implies that the joy and amazement of the relationship has been turned off. it could refer to the relationship being off- and on-again with the implication that the lights will likely turn back on at some point. (which could be connected to “the gloved hand’s reaching in to hit the switch” from mr schwartz)

- to me, “the wonder park” also implies having an audience or crowd around. so lights out here could also refer to stopping a performance, etc.

Your saw-toothed lover boy was quick off the mark

- its interesting to pose if he’s talking about himself or his lover here. i know a lot of people interpret saw-toothed to mean crooked teeth like a certain musical partner in alex’s life but i think the phrase could also represent a ‘sharp tongue/mouth’ with the idea of him (or his lover) normally being witty or cutting but being caught off guard by the situation (similar to the ‘angle grinder smile’ from sculptures of anything goes)

- “quick off the mark” means to be slow to react to a situation which could also tie in with the idea of “watching paint dry” instead of talking about the relationship: they’re reluctant to actually change the back and forth element of their relationship.

- the use of the phrase “lover boy” also solidifies that this is a relationship that is at least somewhat romantic/sexual in nature (vs the earlier use of buddy), it’s telling that this more intimate phrase isn’t used until later in the song

That's long enough in the sunshine for one night

- this line could reference the idiom of something to “seeing the light of day” i.e. to be revealed to the public/to be open, their relationship won’t see the light of day with the sunshine instead being found in the nights

- sunshine could also represent a warmth or happy period in their relationship. with the previous lines, it could imply that they got together/met up again briefly but it didn’t last.

- the phrase “that’s long enough” implies that alex is the one to feel as though things have gone on too long, even though he feels the warmth of it too (he likes the sunshine (or relationship) but he doesn’t think it belongs in the context of the night)

Didn't recognise you through the smoke

- this is a play on the idea of “smoke and mirrors” which ties in with alex’s use of personas and the idea of obscuring the truth.

- implies that alex (or the other person) is used to being able to see through the fantasy but it’s been dialled up since their falling out and they are now obscured.

- could also refer to one of them being deceptive about their feelings, particularly for the other

- also could imply the other person is smoking a lot, etc. which could tie in with the idea of fame/their relationship being an addiction: people sometimes replace heavier drugs with excessive nicotine as a step in their recovery. it could also just imply that the other person is a bit of a mess if they’ve started smoking more.

Pyjama pants and a Subbuteo cloak

- subbuteo is a table-top game where you flick around little football players on a field that is placed similarly to a tablecloth. there was an interview where alex spoke about how he would wear the table-top subbuteo pitch as a cape as a kid. it’s unclear whether alex or the other person is meant to be the one wearing the unusual combination.

- wearing pyjama pants implies a sense of intimacy and vulnerability between the two to see each other in that state, especially as one would not generally wear them in public.

- the combination of the pyjama pants with the subbuteo cloak invokes a sense of nostalgia and innocence, particularly in relation to alex’s memories, as well as implies that the person is kind of dysfunctional to be wearing a sleeping garment in combination with a non-clothing item.

- the use of the subbuteo field as clothing is also interesting as it is a traditionally masculine symbol being used to cover-up or guard oneself - which ties in with the next line.

- the subbuteo field is also an interesting choice as the game centres around people controlling a full team of players in order to win. with one person wearing the field, it could imply that they are being strategic about controlling others or that they themselves are being controlled.

You know that it's alright if you wanna cry

- this is another line that could easily apply to either alex or his lover but i think it ties in well with the first line from there’d better be a mirrorball “don’t get emotional, that’s not like you” which alex has said is directed at himself.

- alex is telling himself or his lover that it’s okay to express their emotions and be upset about the situation, implying that they usually are not as forthcoming or overtly emotional or that they may be hiding their true feelings in the presence of the other to appear less invested or devastated

to summarise: alex and his lover had a falling out over their off- and on-again relationship going in circles and potentially being hidden. neither of them took the split well and they are trying to figure out where they stand with each other and what their connection will mean for them now.

[bisnes-socks]

i said i might do more in depth thoughts of stephanie and so i did.

the first post was a bit rushed but many of the points very much still stand, this post i guess is just trying to make the same points a bit better and deeper. so idk how much of a musical analysis this is, and how much i'm just trying to put vibes and feelings into words, but here goes.

i said in the first post how i like that the structure isn't the usual verse chorus verse chorus - well, actually it kind of is that, but the chorus doesn't feel like an obvious chorus, because they only play it twice and it's not the same those times. there is almost a pre-chorus like feeling to it, and then the song ends in what could have been a bridge, if the song was longer. this song to me feels like a part of something bigger, and that's why i'm super excited to hear in the context of the full album. with that being said, i still think it works super well on its own as well, i really love the vibes.

the early 2000's brit rock and indie rock influence, such as arctic monkeys or black kids, is still quite obvious to me, but so is the 80's influence as well, like orchestral manoeuvers in the dark was the first one that came to my mind. then again, the 80's influence on early 2000's brit rock and indie rock in general is also pretty obvious, so i think influences in music in general should always be seen as a spectrum, rather than fixed, separate points. everything is always influenced by things that came before it, and what we can name as an influence on something will always depend on where we've heard a specific style or flavour or spice in music first.

it's a different sound than what we've heard from them before. i don't know if this makes any sense to anyone other than myself, but to me, the sound on this song is the sound of a collective more than the sound of the band. what i mean by that is that there are so many elements in the song that are not straight forward band instruments, or instruments that are in their usual line up. this sound is produced by five professinal musicians working as a collective, rather than five band members playing their respective instruments simultaniously. does that make any sense? i don't know, but it's how i feel - like there could be more people on this song than there are. but i think the best songs always do sound like all of the people who made it, not just one or two.

like i said in my first post, the drums are super interesting in this one. the drum machineness of it all, the super 80's style drum fills, the percussive details of little pings and pangs that decorate the track, that's all something that hasn't been super typical in pop or rock music recently, and harkens back to the 70's, 80's and also the early 2000's indie scene. it's super interesting to listen to, and i can genuenly recommend taking the time to listen to the track a couple of times focusing on just the drums and percussion.

in fact, i'd recommend listening to the track (this track and honestly just songs in general) several times, always choosing a different instrument or element to focus on, because there is a lot of cool stuff going on in this song! vocals and lyrics often take the main focus, but i always find it worth it to carefully listen beyond the lyrics.

the drum parts are also just genuenly fun. the drums and the bass make it a very dancable song, which again, it's both very 80's and very early 2000's to make super bop-y, dancable songs with sad or dark lyrics. the contrast is quite yummy to me. it also brings a vibe to the song i really really love. it reminds me of a quote about movies, about how drama movies should always have a little bit of comedy in them, because that's how real life is. there is always always both light and dark, sadness and happiness present in everything. crying and laughing all at once. that's the vibe of the song to me, and it's brilliant.

the song has so many layers to it, it's honestly brilliantly mixed: there's something happening in almost every direction, every distance, so to speak. and so many different synth sounds! sharp strikes here, notes held there, runs here, backround walls there. take a moment to find them all, it's super rewarding and again, genuenly fun!

the vocal delivery is also a cool contrast with the musical aspects. the voice doesn't convey a lot of emotion, on purpose i think. he sounds a bit numb and detached, and the music being so whimsical with all of its details and decorations, it's just a really cool juxtaposition.

and at the end, repeating the lines about love and happiness not being built for people like me, with the guitar playing the same melody, when the vocal line and the guitar line go out of sync and he starts repeating the lines to a different rythm, i think it highlights the juxtaposition even more, it's like.. it's like he's not even listening to the whimsy of the music anymore, but getting carried away in his own head by the lines. and repeating them in an almost monotoe way.. i just think it's a brilliant way to deliver the emotion behind the lyric.

but the song ends in the major key whimsical runs on the keyboard with a very fun percussion rythm, and so i think ultimately the mood left behind by the song is quite positive. it's melancholic sure, a bit angsty yes, but at the same time it's not a depressing feeling. 

like i don't know how else to put it, but the whole song is like. everything is going to shit in your life, but you're on a walk and the leaves are super pretty colours and the weather is just perfect, and you breathe in fresh air and it's like. yeah everything is kinda fucked but right in this moment, right at this minute, it's all kind of.. okay. and for a split second you can imagine a future where things are less shit. where maybe happiness and love are built for people like you.