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Track List
01) She's Thunderstorms
02) Black Treacle
03) Brick by Brick
04) The Hellcat Spangled Shalalala
05) Don't Sit Down 'Cause I've Moved Your Chair
06) Library Pictures
07) All My Own Stunts
08) Reckless Serenade
09) Piledriver Waltz
10) Love Is a Laserquest
11) Suck It and See
12) That's Where You're Wrong
13) The Blond-O-Sonic Shimmer Trap
01) She's Thunderstorms
02) Black Treacle
03) Brick by Brick
04) The Hellcat Spangled Shalalala
05) Don't Sit Down 'Cause I've Moved Your Chair
06) Library Pictures
07) All My Own Stunts
08) Reckless Serenade
09) Piledriver Waltz
10) Love Is a Laserquest
11) Suck It and See
12) That's Where You're Wrong
13) The Blond-O-Sonic Shimmer Trap
3:54
3:35
2:59
3:00
3:03
2:22
3:52
2:42
3:23
3:11
3:46
4:16
3:28
Data Complete 80%
Total Rating
Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2011
Indie
Philosophical
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Suck It and See es el cuarto álbum de la banda, lanzado el 6 de junio de 2011, otra vez producido por James Ford y grabado en Sound City Studios (Los Ángeles). Tras la densidad de Humbug, aquí volvieron a la melodía, pero con elegancia.
El sonido combina pop de guitarras sesentero, indie rock y un aire de ligereza melancólica. Hay algo casi británico clásico, entre The Kinks y The Smiths, pero pasado por el filtro californiano. Temas como “Don’t Sit Down ’Cause I’ve Moved Your Chair”, “The Hellcat Spangled Shalalala” o “That’s Where You’re Wrong” brillan con una mezcla de humor seco y sensibilidad pop.
La crítica lo recibió con calidez, un disco menos radical, más maduro, con una escritura más romántica. La importancia radica en que preparó el terreno para el siguiente golpe de efecto: AM.
User Album Review
These days Arctic Monkeys are not a band singing songs about "f***ing taxi ranks", as frontman Alex Turner quipped recently. They made their last record, 2009’s bizarre Britpop/stoner hybrid Humbug, in a desert. One member, the drummer no less, has the mobile telephone number of one P Diddy. And the singer – a young man who, on arrival, did so much to quench British pop’s obsession with the empty idea that is ‘the working-class hero’ – now writes lyrics like, "Library pictures, of the quickening canoe / The first of its kind to get to the moon": a couplet more befitting Gandalf the Grey than it is Liam Gallagher.
Of course, this sort of buffoonery is to be encouraged. Still, it’s hard not to want the band’s fourth record to embrace the unconventional more than it actually does. Initial signs are promising. Many of the song titles sound like they were conceived by a drunk Butlins Redcoat. One is called Love Is a Lazerquest; another, Don’t Sit Down ‘Cause I’ve Moved Your Chair (one can only hope its sister song, I’ve Got a Whoopee Cushion and I’m Not Afraid to Use It, turns up as a B side). But for the largest part, Suck It and See isn’t the stubborn, radio unfriendly career swerve that Humbug proved to be.
If anything, it’s a halfway house between where many expected them to be going, and where they were. On one hand, it marks the return of actual tunes (Reckless Serenade, the hard-edged title-track) – stuff that you can hum – as well as, not taxi ranks per se, but kitchen sink musing about "chin-chewing" cokeheads (Black Treacle) and "damsel-patterned alleys, where you go for a smoke" (All My Own Stunts), two songs that will be embraced by anyone fannish about their early work. On the other, there’s now an oblique Dylan-esque romanticism to many of Turner’s lyrics and tunes (the title and contents of opener She’s Thunderstorms is lovely), few of which suggest their future as karaoke staples and some of which prefer groove, not just over melody but all other constructs of song. They fit a mould, but it’s an askew, mismade one.
If you were enjoying the band’s joyride into the weird, Suck It and See is a record that may disappoint in its convention. Personally it makes me wish they’d just given a chorus or two to Diddy and be done with it. But while the reins of pomp have certainly been reined in somewhat, it’s hard to shake the suspicion that Suck It and See is further evidence that Arctic Monkeys are still Britain’s best guitar band – albeit one that’d be even better if they ever decide to truly lunge into the unknown.
External Album Reviews
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User Comments
Available in:
Suck It and See es el cuarto álbum de la banda, lanzado el 6 de junio de 2011, otra vez producido por James Ford y grabado en Sound City Studios (Los Ángeles). Tras la densidad de Humbug, aquí volvieron a la melodía, pero con elegancia.
El sonido combina pop de guitarras sesentero, indie rock y un aire de ligereza melancólica. Hay algo casi británico clásico, entre The Kinks y The Smiths, pero pasado por el filtro californiano. Temas como “Don’t Sit Down ’Cause I’ve Moved Your Chair”, “The Hellcat Spangled Shalalala” o “That’s Where You’re Wrong” brillan con una mezcla de humor seco y sensibilidad pop.
La crítica lo recibió con calidez, un disco menos radical, más maduro, con una escritura más romántica. La importancia radica en que preparó el terreno para el siguiente golpe de efecto: AM.
User Album Review
These days Arctic Monkeys are not a band singing songs about "f***ing taxi ranks", as frontman Alex Turner quipped recently. They made their last record, 2009’s bizarre Britpop/stoner hybrid Humbug, in a desert. One member, the drummer no less, has the mobile telephone number of one P Diddy. And the singer – a young man who, on arrival, did so much to quench British pop’s obsession with the empty idea that is ‘the working-class hero’ – now writes lyrics like, "Library pictures, of the quickening canoe / The first of its kind to get to the moon": a couplet more befitting Gandalf the Grey than it is Liam Gallagher.
Of course, this sort of buffoonery is to be encouraged. Still, it’s hard not to want the band’s fourth record to embrace the unconventional more than it actually does. Initial signs are promising. Many of the song titles sound like they were conceived by a drunk Butlins Redcoat. One is called Love Is a Lazerquest; another, Don’t Sit Down ‘Cause I’ve Moved Your Chair (one can only hope its sister song, I’ve Got a Whoopee Cushion and I’m Not Afraid to Use It, turns up as a B side). But for the largest part, Suck It and See isn’t the stubborn, radio unfriendly career swerve that Humbug proved to be.
If anything, it’s a halfway house between where many expected them to be going, and where they were. On one hand, it marks the return of actual tunes (Reckless Serenade, the hard-edged title-track) – stuff that you can hum – as well as, not taxi ranks per se, but kitchen sink musing about "chin-chewing" cokeheads (Black Treacle) and "damsel-patterned alleys, where you go for a smoke" (All My Own Stunts), two songs that will be embraced by anyone fannish about their early work. On the other, there’s now an oblique Dylan-esque romanticism to many of Turner’s lyrics and tunes (the title and contents of opener She’s Thunderstorms is lovely), few of which suggest their future as karaoke staples and some of which prefer groove, not just over melody but all other constructs of song. They fit a mould, but it’s an askew, mismade one.
If you were enjoying the band’s joyride into the weird, Suck It and See is a record that may disappoint in its convention. Personally it makes me wish they’d just given a chorus or two to Diddy and be done with it. But while the reins of pomp have certainly been reined in somewhat, it’s hard to shake the suspicion that Suck It and See is further evidence that Arctic Monkeys are still Britain’s best guitar band – albeit one that’d be even better if they ever decide to truly lunge into the unknown.
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