Eight years on from the release of The Age of the Understatement, Alex Turner and Miles Kane have long ditched their tracksuits and youthful impudence, and now both reside in LA. The long awaited follow-up to that record is even more stylish than its predecessor, and its architecture gleams from the ornate intricacy of the album’s sound. In short, it’s about as baroque as rock can be. Its grandeur is almost cinematic, with its gilt-edged string sections and aristocratic brass the feather in the cap of a grand consummation. Turner has proven himself to be one of the most skilled lyricists in the game over the past decade, and such a motif provides the scrim for him to further prove his worth (not that he needs to) on that front, and needless to say he finds his way around the artistry with a pen and paper with ease. Despite all of that, it’s hard to give this record too high of a rating, because it leaves the impression that The Last Shadow Puppets are principally a conduit for Turner and Kane to demonstrate just how suave they are, and while it’s hard to find many faults with the record, it’s lacking an edge to make it a great one.
[FIRST PUBLISHED ON NO RIPCORD]