#era: eycte

[danishphoner]

The Last Shadow Puppets: fulfilling your kinkiest fantasies

Alex Turner and Miles Kane stand on one side of the success of The Last Shadow Puppets, who played Open'er Festival. On the other, you can see multitudes of fans trying to find evidence of the so-called ‘bromance’ of their favourites. And they, as if out of spite, only provoke further fantasies of their admirers. Even during the interview, they talked to me about fulfilling their kinkiest fantasies. See what else I managed to talk to them about!

Written by Katarzyna Gawęska Originally translated by everybodytriesbeinghuman on Tumblr

Translation below

Your duet is comparable to John Lennon and Paul McCartney’s, Steven Tyler and Joe Perry’s. Let’s start from compliments – what do you appreciate most in a teamwork?

MK: I think, it won’t be anything new, if I say, it’s thanks to Alex that our every song is so polished – no one else could make them better. Thanks to him, I am trying to push my own boundaries and, to be honest, I wouldn’t be so eager to do that without Alex. I suppose both of us could say that about our teamwork. We just understand in what creative direction each of us is heading towards. It’s difficult to explain, because we don’t need words to describe our thoughts, which melody each one is working on, which song he’s trying to make – cheerful or sad. I don’t know how it works – it’s just that sort of chemistry between us.

How is your work different from the Arctic Monkeys one or from your solo career, Miles?

MK: When I’m working solo, I’m sad, because I turn into a little frightened boy.

AT: When we are working on The Last Shadow Puppets records, we don’t know who's going to sing what. And because of that, we surely have to change our ways of writing, we don’t know everything from the get-go. It’s easier for me to write a song aimed towards myself – I’m writing a certain lyric, melody and I know I am going to sing it, so I’m already aware of my own possibilities. And the way Miles plays the guitar gets me really excited – his music takes me into a whole new world. When it disappears, this excitement is gone. It may sound like working with AM wouldn’t give me any satisfaction – I want to highlight it isn’t like that. With Miles, it’s just… different.

MK: I remember, one time Alex came up to me and said, “I want to see how you spit, while singing >>sick puppy<< in >>Bad Habits<<”. I called him a madman afterwards.

AT: Yeah…

MK: But he was right. No one else would say something like that to me, It was beautiful.

AT: You see, Kasia, I just tell Miles about my fantasies, and he tries to fulfill them, even when they are very kinky, like in that case.

Alex, you just explained, why your fans are suspecting you two of having a romance. You are very close to each other, but an artist needs a little more space and freedom to create, right?

MK: While making this record, we gave each other lots of space. EYCTE is the last song which we wrote. It was created from other unfinished pieces. It was supposed to be thousands of different tunes, but we made it into a one. Before I came into the studio, Alex sent me a demo on which he played the organs and then added different lyrics to it. That’s how it came out, and it’s a great example that Alex had a lot of space. When we played this song, I felt like I’ve never heard it before, which obviously wasn’t true. I was listening to the same thing as before but in a completely different form. And because of that, I started to feel excited again.

“EYCTE” is also your album’s title. Did you give your fans what they were expecting?

AT: Definitely! We hid it behind a red curtain, and underneath is everything they desired.

And what were your expectations for this record?

MK: We tried to bring something fresh into our work. We wanted to make this album different from the previous one. In some way, we got over with it and decided to not force things. It’s just me and Alex, that’s how we are and we don’t wanna change. And I think it turned out very well.

Your album cover turned out very well as well. When people see it, they want to give it a listen.

AT: I think when an artist decides to put something on the album cover or its booklet, they do it in order to show the listeners exactly what they’re gonna get from it. Actually, I don’t really know why I just said that, because it’s pretty obvious. Sorry, I’ll stop binding my time. Let’s say I made six albums, maybe five of them succeeded. The photography on the cover is a dancing Tina Turner. I’ve discovered it a few years ago and immediately thought it would fit perfectly, especially after changing the background to gold. There is a lot of grace in this picture, which is an element in TLSP’s music. It’s a dynamic portrait, which reflects our work brilliantly. As you may have noticed, it’s hard for me to describe some spectrums. Right now, I don’t know how to explain the fact that this cover is an amazing picture. The emotions you start to feel when you see it. Well, you’ve mentioned it by yourself, and I’m very glad you’ve noticed something so wonderful. I can only hope that more people will follow your thinking, and this cover picture will eventually make them listen to it. And yeah, maybe the sounds won’t disappoint them, either.

When I am listening to your tunes, I feel relaxed and calm. Then it hits me and I start wondering how it had come, if the lyrics are so aggressive and sexual. What does going from one extreme to another bring to your work?

AT: Another interesting thing you’ve noticed! It’s incredible that someone gets what’s happening inside my head! I’m telling you how it is. I very often find myself thinking that if the lyric drags on the right and the music on the left, then if we make both of those elements function we’ll create a balance. None of the elements will lean too much on it’s side, because it will be balanced by the opposite. Despite that I won’t generalize and in the “Bad Habits” case it’s the other way around – everything is dragged to the one side. I mean, there are some bows, which create a totally different impression of what our band is like. Not all the time everything has to be black and white – grays in our music are also very welcome. Personally, I’d rather listen for the rest of my life to what you’ve mentioned: meeting extremes in any song. I love that feeling when I turn on a tune and I think I know where how it’s all gonna go, and then the creator shows that he's playing with me and that, in reality, I know nothing. I don’t like predictable tunes.

Talking about lyrics, I couldn’t resist asking. Alex, there are very little lyric-writers better than you. People describe your style as poetic yet simple. Personally, I would agree with that. But how you would describe your writing style?

AT: You ask questions, which require thinking! Maybe… No, that’s not it. Or maybe… That one not as well…

Miles, maybe you’ll try to help him?

MK: For me it’s easy. Alex’s lyrics are like attempts to cross the Nile river on a raft. That’s how surreal they seem to me.

[Laughs] I think that’s the best comparison out there.

AT: [Laughs] Miles has a talent.

MK: No need to thank!

AT: And I still don’t know how to answer it. Miles handled it good, and I think that you [Miles] would describe me better than I could myself.

I’ll let go of descriptions, but I’ll ask you about the general sound of the album. Do you pay lots of attention to the technical side of making music? This album doesn’t seem modern, it’s more like…

AT: Something from the future?

I planned to say, like something from a few decades back, but your different perspective seems very interesting.

AT: [Laughs] We cut a deal then! But it’s a really fascinating situation! We were very excited that for the first record to make everything in an old-fashioned way. This time we weren’t so stubborn about making it so retro-like. We didn’t cut it off completely, but it just wasn’t as important. There are some old-fashion sounds on this record, but if you hear them on the radio, you’ll notice they sound modern. But I get your point! So remember that we still get excited over old amplifiers and such [laugh].

I know that you make new music all the time, so any plans for a new album?

AT: Oh yeah, absolutely! It’s like our… resolution. Resolution to make a new record. Now we are considering various options, we think a lot about the direction we should head to. I am working on a melodic scenario. Yeah, yeah, yeah. We won’t disappear that easily.

[uhbasicallyjustmilex]

Alex Turner for FOXES Magazine, 2016 ☆

[sophaeros]

the last shadow puppets - everything you've come to expect: 2016 tour outfits — almost all clothes custom made by ray brown sources

[allbornscreaming]

THE LAST SHADOW PUPPETS Moonage Daydream at The Spa, Bridlington, 2016 +

[musicandotherstuff]

Photo of Alex Turner hanging in a pub in Leeds, UK

15/07/2016

(Credit)

[blair-s-world]

Alex turner, the cutie.

[totallyfuckd]

Alex Turner & Miles Kane c. 2015

[applysome]

Alex and Miles as Yin and Yang: a collection

Credit - all images from Pinterest

[tedioepica]

this video is very very important

[mythologiestofollow]

the last shadow puppets, 2016

[danishphoner]

Wild Horses | JUICE April 2016

'British wit' has been a much-desired cultural commodity for a long time — Arctic Monkeys' frontman, Alex Turner, and former-Rascals-leader-turned-solo-star Miles Kane, have that in spades. Their charm converged when they revealed themselves to the world as The Last Shadow Puppets in 2008 via their debut full-length, The Age Of Understatement. After a period of dormancy, they're ready to bring the stomp again on their latest, Everything You've Come To Expect. That it's inspired by soul singer Isaac Hayes is only part of the reason to get excited. Here, in an exclusive with us, Turner and Kane furnish details, and yes, British wit.

Written by Indran P Photography by Zackery Michael

Transcript below

Eight years is a long time between albums. Has a lot changed in your lives since your first?

Alex: A lot about our lives stayed the same during that time, but certain things really changed. It's not like there's one theme running through it or that it's about one thing. But what springs to mind when I first think about the record is the recording of it, which was one of the most pleasant experiences l've ever had. We were by the ocean and a lot of friends were there all the time. So as far as the feeling that surrounds it — be it positive or negative — it's certainly the former.

Can we then expect a few love songs from Everything You've Come To Expect?

A: Not exclusively. Though, there are moments in the record that are certainly in the sphere of the love song. But there are some other moments on there that are kind of opposed to that as well. The first time we did a Shadow Puppets record was perhaps the first time we explored the abstract lyrically and thought about words more as just another component, along with the melody and the chords, and how that contributes to the overall feeling rather than always trying to tell a story.

Miles, was there something that happened during the recording process that you remember fondly?

Miles: I was singing “Gangster's Paradise” by Coolio. And then I sang: “As I walk through the chalet of the shadow of death”. And then we put it in the song “Everything You've Come To Expect”. I don't know where we were, but that was spitting something, yeah.

The record also features string arrangements by Owen Pallett. What was it like working with him?

M: He was with us the whole time — recording and writing his string parts. He definitely gets in a zone and then he'd come back and you'd know, if he wasn't happy about it, you could see. He is a true artiste.

A: He can be very serious at times, but we welcome what he's doing. But Miles is definitely like….

M: I've seen him melt. I made him melt. He's fun, you know.

Besides Owen's input, another interesting change-up in your sound is your newfound appreciation for Isaac Hayes.

M: There probably are lots of different artistes or songs. There was the Isaac Hayes thing; there was a bit of Style Council; there was a bit of Dr. Hook — all those songs that have a certain mood. They may not sound like this record, but there's a certain feeling you get from the tunes. We were definitely very concentrated on the Scott Walker thing on the first one.

As much-scrutinised musicians yourselves, are you ever apprehensive about how you channel an influence?

A: We are still finding new things and getting excited about them. It's not as direct. The reference material on the first Puppets record was really the focus. Whereas that's shifted slightly now. We don't have the innocence we had then, I suppose. And back then, it seemed crazy to us to try and make a record that sounded like Scott Walker, whereas now it's not as mad. But when you talk about some records sometimes, I think you'd have a hard time trying to draw a parallel between this and that. Well, or maybe not.

[mileskanetiktok]

“Good cop, bad cop routine”. Love this solo x

🐢.

[uhbasicallyjustmilex]

"Oh Alex, you look gorgeous you do." "Oooh Miles, I fancy you a bit."

The Last Shadow Puppets at BBC Radio 1 Weekend, 2016

[daddy-long-legssss]

i think about this so often [x]

[lily8419]

i am mesmerised

[musicandotherstuff]

Alex Turner - Columbiahalle Berlin

23/08/2016

(Source)