- Record Label: Domino
- Release Date: Apr 1, 2016
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Apr 15, 2016It’s a fresher yet slightly less exciting and memorable effort. Still, it captures almost everything that makes the Last Shadow Puppets stand out, so devotees will likely have their expectations met nonetheless.
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Apr 12, 2016As The Last Shadow Puppets, Kane and Turner have served up an exquisite offering that is melodically rich, diverse, and more complex than its predecessor, centred around a collection of undeniably terrific tunes.
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Apr 4, 2016Bright character studies of predatory women, manipulative gurus, sleazy lotharios and outdoor sex fiends are peppered with non-sequiturs that force listeners to fill in gaps.
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Apr 1, 2016While The Age of the Understatement's exuberant candescence came from just a few very obvious influences tossed together (and was then pigeonholed as a Scott Walker tribute by the music media), this record ranges wider and finds new pockets of surprise while paradoxically seeming less out-of-the-blue.
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Mar 31, 2016Ultimately, Everything You've Come to Expect plays like a west coast film noir fever dream, scored by Ennio Morricone, with Kane and Turner the doomed protagonists, chasing icy blondes and lollipop Lolitas down their own debauched Hitchcock-ian spiral.
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Mar 31, 2016They’ve made a relaxedly unhurried album that smacks as experimental. While not the instant grab fans may be expecting, this assured follow-up--like all good things in life--improves over time
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Mar 25, 2016When this is good, it’s properly great.
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Mar 24, 2016This album isn’t quite what we’ve come to expect from The Last Shadow Puppets, but that’s just how we like it.
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Apr 7, 2016An album filled with lyrics that openly and entertainingly detail bald desire.
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Apr 1, 2016Everything You’ve Come To Expect feels necessary within the context of all their careers, and the project is worthy of a return visit in another decade or so.
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May 10, 2016It 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.
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MagnetApr 15, 2016Ultimately, it's a delightful indulgence--you're never quite convinced that Turner's about to quit his day job--but a hugely enjoyable one, and Arctic Monkeys fans, in particular, will devour this. [No. 130, p.59]
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Apr 1, 2016The second album he's made with buddy Miles Kane as Last Shadow Puppets is drowsily gorgeous, soft-focus California burnout, á la Beck and art-pop icon Scott Walker.
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Apr 1, 2016The Last Shadow Puppets excel when they craft attention-grabbing pop with lush arrangements and unique lyrics, and they mostly do just that on Everything You've Come to Expect.
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Apr 1, 2016Considering that The Last Shadow Puppets is just a casual commitment and a bit on the side for Turner, Everything We’ve Come to Expect is champagne-coated, arena-sized pop-rock album that’s slick and accessibly smart.
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Mar 31, 2016The complicated result plainly contradicts its title: For a rock-star victory lap, Everything You've Come to Expect is anything but.
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UncutMar 24, 2016This follow-up feels almost like business as usual. Luckily, there are a clutch of standout songs. [May 2016, p.75]
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Apr 1, 2016While there are elements within that suggest a compelling cocktail of high-drama and low self-awareness, Everything You’ve Come to Expect is more dour than it needs to, or should, be.
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Apr 1, 2016It is unlikely to be held in the same esteem as its predecessor, even if there is enough here to confirm that The Last Shadow Puppets are more than just a side project.
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MojoMar 24, 2016Though some things remain reassuringly the same--the glitzy, moody, twangy, cinematic '60s Euro-pop feel--as if time hasn't passed, there's also a strong sense of Turner and Kane having grown as people. [May 2016, p.86]
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Q MagazineMar 24, 2016This outing's a little harder to love than its predecessor, but the highlights are definitely worth the wait. [May 2016, p.106]
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Mar 24, 2016It’s less musically focused than their debut, but also less inclined to lapse into straightforward pastiche.
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Apr 5, 2016The first five songs at least are totally gorgeous, the strings glassy, the tone all understated seduction, the structures fluid and surprising. ... By the Homme-tinged desert rider "Used to Be My Girl," misanthropy has set in.
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Apr 6, 2016The bookends of this record show flashes of potential--with gems sprinkled in between--but far and wide, this is a disappointingly vanilla offering from a group that has already proven itself to be capable of ensnaring our minds and ears. If you’re looking for a silver lining, though, at least these guys have matured.
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Apr 1, 2016The album is in desperate need of more Alex Turner. Too often it feels like a Miles Kane and chums holiday extravaganza record.
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May 3, 2016The album is at its best when the margins are jammed full--tinny tambourine here, guitar feedback there, a wash of cellos dipping into the mix.
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Apr 4, 2016The impression that Turner and Kane are soundtracking some kind of ironic double-bro-seven flick in their heads remains, however (not eased by Kane’s recent sleazy behaviour towards a female journalist), only partly tempered by Turner’s nuanced lyrics.
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Mar 30, 2016Phoned-in and simplistic, it’s hard to decipher when one track ends and another begins.
User score distribution:
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Positive: 82 out of 99
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Mixed: 14 out of 99
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Negative: 3 out of 99
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