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OOR magazine interview: Arctic Monkeys To the moon and back

Major Turner to ground control! From his Tranquility Base Hotel + Casino on the moon Alex Turner observes the digital human. He does that like no one else, the space cowboy from Sheffield. The sublime sixth album of Arctic Monkeys creeps up on the listener just as gracious as a feline predator. The sound is miles away from unruly, bouncy indie jewell Whatever People Say I Am That’s What I’m Not, the band’s debut record. A better reference would be Everything You’ve Come To Expect (2016), the second album of The Last Shadow Puppets. Turner’s side project happily flows into the waters of Arctic Monkeys. And vice versa. The one thing we’re absolutely sure of: as always, whenever that nifty Turner turns up, something peculiar is bound to happen. In the 11-song tracklist of Tranquility Base Hotel + Casino, one by one wonderfully melodic pieces, this magisterial word artist presents himself as the best writer of lyrics of his generation.

By Tom Engelshoeven // Photography: Zackery Michael

We’re not allowed to know anything beforehand. Not even the album title. Listening to the songs is allowed though. In a room of the Town Hall Hotel in London, a lady from Domino record company informs me that the new album has been recorded, mostly, in Paris and that Alex Turner is extremely involved in the production process. Then the 32-year-old singer enters the room in expensive designer clothing, including a military jacket carrying his name TURNER on the chest pocket. His shoulder-length hair is tied back in a short ponytail. And the goatee which has gotten an earful from the internet. You may think he’s lost his cool, but there’s little to notice about that in our conversation. In the hour that follows Sheffield’s most famous son, currently residing in Los Angeles, tries to carefully and accurately explain his thinking methods. In that attempt, he shows a pleasant kind of openness. He often loses his words, resulting in long quiet pauses in which he searches for the right way of explaining, yet there isn’t one second where I get the idea that he actually tells me everything he knows.

– So, France. In La Frette? Yeah, La Frette is the name of the studio, but also of the town, La Frette-sur-Seine.

Surprisingly enough the internet is buzzing with rumours. It was often said that you would be working at some mysterious location. You’d been spotted in Sheffield, but Paris had never been mentioned. It was a secret! I almost recorded a Shadow Puppets record in that studio, but we didn’t get to it. The producer had already come over to Los Angeles for a recording session, prior to this one. Now it was our turn to fly over to Europe.

You mean James Ford? Yes. I started writing and recording this album in my own little homestudio in LA. We took those recordings to a real studio where we continued working on them wth James and the rest of the band. In September we made our way to the studio in La Frette to really tie it all together and finish it.

How long did that take you altogether? About five weeks. In the first two weeks it was just us, the band, to rehearse everything. After that James Ford and some other friends came in to play as well. We all stayed in La Frette and only sometimes got out to spend a weekend in London. The previous Monkeys record we made in a very different way. Back then, we all lived in LA, spent the day in the studio and then went home in the evening. Obviously this time it was not like that. Back then, we were all in a town in the midst of farmlands in Lincolnshire. Doing everything together: getting up, having breakfast, dining out.

Did spending all that time together in La Frette result in a different kind of record from the one you had in mind at the start of recording? No, to be honest it didn’t change that much. I already did a lot before we started, so it didn’t deviate that much.

– If I had to find an adjective for this new record, it would be ‘elegant’. It’s not music that bangs on your door, but songs which creep up on you like predatory animals. That was exactly how I wanted it to sound. I can’t disagree with you, I can see how you’ve managed to draw that conclusion. I guess your next question is going to be ‘why’?

Maybe in contrast to your previous album? AM was heavily based on hiphop beats. The guitar really took up the spotlight back then, but this new record sounds much more like a piano record. A piano in an old nightclub with those red, velvet curtains. It’s good to hear you describe it like this. Maybe you’re even better at that than I am. But perhaps I can give an explanation for how we’ve gotten to this red, velvet carpet? Did you say a tapestry on a wall? I like the idea that this album sounds like a wall of velvet tapestry. Yeah, that’s rad. For the first time, I wrote everything on the piano. When I was young, I played a bit of piano before I got to the guitar. But to be honest with you, I was never that good at it. I remember getting that guitar for my 15th birthday, I slept with it in my bed that night. I was constantly busy noodling around on it. Such a relationship I’ve never had with the piano, but I was able to play a couple of chords. For the past couple of years, I’ve visited a lot of studios and spaces where there was a piano available. More and more often I sat down at them and when I turned 30 I got one from my manager, a good friend of mine: a Steinway Vertegrand.

You’re singing about it twice on this album, if I’m correct: ‘Back there by the baby grand’ in One Point Perspective, and ‘It stays between us, Steinway and his sons’ in album closer The Ultracheese. That’s right, suddenly that piano became the epicentre of my small room. And there I was. The more I was sitting there, the more my fingers slipped to various places. A kind of character was born in my head. That way I convinced myself to start writing songs again.

You became a piano man? Exactly.

– From the first two songs, Star Treatment and One Point Perspective, a character starts to grow. I’m wondering, are those songs perhaps about your future as a singer: a scenario that’s looming in the future? Once upon a time you used to be that extremely promising young lad, but on here you sound like an artist singing about his bygone days. It starts with looking back.

Yes, that excellent first line: ‘I just wanted to be one of the strokes’. That was really how I looked at it back then. Star Treatment was the very first song I wrote for this album. In that song, as I hear it these days, there is a lot of uncertainty. It’s almost a song about an attempt to write a song. I’m lost somewhere, no idea whereabout. I’m reflecting and suddenly thinking: ‘here I am right now, and long ago, I used to be there’. That theme and that tone, it reaches past this one song and continues on the whole record.

You just wanted to be one of The Strokes? You could explain that as not so respectful towards The Strokes, though that was absolutely the last thing I meant to say with it. I just told myself. Just two minutes ago, or so it feels like it, I was standing in the crowd for one of their gigs and I thought I wanted to be in a band. And now I’m here and searching for something to write about. That feels very confusing: what do I want to express? And when I’ll know, how the fuck am I going to say it? Without it sounding washy. That’s the puzzle which sparked writing Star Treatment. The title is, of course, a play on words with a two-sided meaning. In that time and place, I had already thought about what the album was gonna be called: The Tranquility Base Hotel + Casino. It’s a place on the moon. I fantasised about writing a commercial text for a hotel and casino on the moon. In that case ‘The Star Treatment’ would have been the ultimate slogan! I can already visualise the commercial in my head. I love those commercial visuals for hi-fi devices from the 70s. Highlighted just like that, accompanied by neon lettering. Yeah, if I had to create and advertisement for a hotel, I would definitely put ‘Star Treatment’ in there. But it also comes from a different place.

My dad used to tell me, on evenings where the sky was really clear and we were outside together, how far away those stars were from us. I’ve hear him say that a hundred times. I thought it was so fascinating, again and again I asked him ‘tell me again!’. Then he would point out the brightest star and say: you’re not seeing the light of that star as it shines right now, but like it was many years ago. That light took all those years to reach your eyeball. And then he would explain how fast that light had travelled to blind me. It blew me mind.

Just like how one second you wanted to be one of The Strokes and then another you’re sitting here. To be honest, I still want to be one of the strokes.

That ‘golden boy’ who’s in bad shape you’re singing about on Star Treatment, that’s you then? That confused character who doesn’t know whether he’ll ever write again. Yeah, more or less. I believe I stole that ‘golden boy’ description from Leonard Cohen.

In One Point Perspective you’re also singing: ‘A singer must die’. Also from Cohen. That’s why I thought were singing about the future of a star or a singer. The unavoidable moment where he’s stuck in The Tower Of Song. I put that line by Cohen in the lyrics because he died in the week of the American elections. I don’t think we need to talk about the historic impact of those days. There was a real feeling of despair in the air, like: this is the beginning of the end. Everyone was so upset, scared of the future. And then to top it off, Leonard Cohen passed away! That’s the feeling I’m reporting on in the song, that the Apocalypse had become a priority. ‘A singer must die’ was the most beautiful way to work Cohen into the song without having to drop his name.

– If I had to view the album from a helicopter’s perspective… Drone! Haha, I really think drone recordings ruin everything. Every time I see an aerial shoot I just know it was a drone that did that. It’s just not cool. I’m sorry for interrupting, keep going.

… then I had to say this record is about the USA, about how computers and machines direct our lives, the language of the digital era and sir Trump. I have tried so hard to keep him out of this.

Well, there’s a song called Golden Trunks. Yes, he finds his ways to sneak in. He’s very skilled in that area. He’s getting enough air time as it is, and I didn’t want to grant him anymore. Now it’s just one verse that’s about him. But look, he’s even entered our conversation!

You’re singing: ‘Leader of the free world reminds you of a wrester wearing tight golden trunks’. And still, something kept me from confronting him. It’s become a sort of competition: who’s got the most witty way to say something extremely denigrating about him? That competition is absolutely going nowhere, except again it’s about him.

In that song Four Stars Out Of Five you’re observing how we’re constantly letting our lives be led by digital devices. Like, there’s a nice restaurant on the internet, oh Gosh four stars, we need to go there. You’re also singing about the digital age in The World’s First Ever Monster Truck Front Flip: ‘The exotic sound of data storage, nothing like it first thing in the morning / You push the button and we do the rest’. How the young and hip are being herded like sheep. And the words that help them: ‘start your free trial today’. Everything you just mentioned is so present in our daily lives, it’s impossible to ignore. I found it quite hard to dig up some poetry from that. It took me a while before I succeeded. The simple fact that I was writing about stars and science fiction has helped me. Science fiction is a recurring theme on this record.

One number is even called Science Fiction. You’re almost ridiculing that genre a little bit. Yeah. Namely because science fiction is really funny most of the time. I just can’t help it. It’s so fascinating to me how writers of sci-fi books keep making up new worlds to comment on their own worlds. Essentially, that’s wat happens most of the time. I realised I am partaking in this as well. You’re inventing this Moon Casino thing to be able to talk about Facebook. Not that I’m actually talking on Facebook.

Science fiction is easily outdated though. That’s something really amusing as well. On the news, everyone was raving on about 1948. Like, now it seems like it really is fucking 1948! It was so funny, I had to put it in Star Treatment. Everyone saying it’s fucking 1948. But a lot of the lyrics on this record are inspired by a book I read, Amusing Ourselves To Death by Neil Postman. I can’t remember when I first heard about it but when I read that title, I immediately thought: this is what you have to read in the modern age. Even though, it’s practically written when television was the most dominant factor in our lives. Postman argues how that time – but I think also ours – bears much more resemblance to Brave New World by Aldous Huxley than to 1948. Because in Brave New World people are letting themselves be molded by something they have called onto themselves and not by a power from outside, like in 1948. That was the point I wanted to make.

Something else I took form that book was the idea concept of the information-action ratio. Like, what actions are to be expected when people are being fed information. I read Amusing Ourselves To Death around the time of the presidential elections. Retroactively, I thill think of it as an interesting read. It really hit the bull’s-eye for me. In that time, I was fanatically keeping up with the news, I’m laying off that a bit for now.

According to our conversation, it appears as if you made a really politically-themed record but rather than that, you’re describing your life as of right now without really judging at all. Yes, I think it is really important to preserve a sense of discretion. Good writing stills are based on the ability to suggest. You don’t need to provide a roadmap, but you do need a sense of humour. That is important, yes.

I laughed out loud at the line ‘swamp monster with a hard-on for connectivity’ in Science Fiction. It reminded me of all those people working in IT who really do pay their bills with their ‘hard-ons for connectivity’. What’s also funny is that character from Batphone who introduces a perfume called Integrity. ‘I sell the fact that I can’t be bought’. It wouldn’t surprise me at all if one day I would drive past a billboard advertising a perfume called Integrity. It feels like it already exists in this world. The rest of the song just wrote itself.

One of the reasons it took you so long before this album was born, was because the other members of the band suddenly became fathers. You didn’t, obviously, but has that changed your view on the world? Has it changed you guys as a band? Yeah, because they need to take care of their kids now! The real scope of the impact is yet to be defined. Touring around when everyone has got families at home, it’s something we haven’t done yet. Well, no. Nick [O’Malley, bass] had a boy when we were still touring around with AM. All the other babies have been born after that. How it has influenced our life on the road, I wouldn’t know yet. I think they’re more capable of answering than I am. But parenthood has had absolutely no negative impacts on our spending time in the studio. We had a fantastic time. Because of all those family happenings we hadn’t seen each other as often as we would’ve liked. But there was a great lot of enthusiasm, energy and excitement when we were in France. It’s just that sometimes they were facetiming with their kids.

– Your previous album was very much about lust from the perspective of someone at the end of his twenties. ‘I want that woman in my hotel room tonight!’ It’s the complete opposite of the baby monitor life of a young dad. A friend once told me: I’d love it if you wrote something else than ‘I love you, you love me, why’d you only call me when you’re high, blahblahblah’ for once. That was when I thought: I’d like try because I had never done that before. On our last Puppets record I detached myself from that image, it was already lessening. Not that shit anymore about a girl in a hotel room and I want to meet you. That’s how I got to the songs The Dream Synopsis and Sweet Dreams, TN. I’d never walked the road of love that far along. Maybe I even exaggerated on purpose. It caused a definite fracture with the past, which pleases me.

Lovesongs become cheese really quickly, that’s just the way it is. The closing number which is also about love, is called The Ultracheese and appears to not contain a single hint of irony. Is it hard for you to ignore the irony factor? Well, one of the many things Cohen teaches you is that he’s prepared to take time to deliver his message. The more songs you hear from him, the more you discover who he really is. It’s a large scala of oeuvre which makes that clear. Listening to his songs, but also his commentaries, has encouraged me to take my time. Not just in terms of working pace. You can also take the time to spread out your message over one whole record, or maybe even several records. A few nice punchlines here and there, that’s all right. But I don’t really feel that urge anymore to wrap all the things I have to say up in one short moment. This insight is relatively new to me.

How much of The Last Shadow Puppets has actually flowed on in this Arctic Monkeys record? The fundamental difference between both projects us that The Puppets are based on a partnership between me and Miles Kane. That’s the distinction, but lyrical-wise I’m less and less thinking about what project I’m writing for. Back in the days, it was very much like: now I’m doing The Puppets, then The Monkeys, then The Puppets and when that’s done, the Monkeys again. In the meantime, we’ve come to a point where AM somewhat started resembling the last Puppets record. I had already been working on the piano loop for Star Treatment when I was writing Everything You’ve Come To Expect. That was when it all started to become more intertwined.

There has been a lot of speculation about this new album, maybe causing a lot of pressure on you. Was that difficult for you to handle? That’s mainly part of a world I try not to stick my hands in. If I had heard anything about it, I might’ve been more worried. But I don’t really have any social media, so I’m not entirely conscious of it. I do feel that people have been looking forward to this record a lot because, since I’ve left the UK, people keep asking me: when is that record gonna come out? That level. But it’s not as if I’m looking at my phone every other minute.

Your girlfriend Taylor Bagley was trying to pick a fight with some fans, saying ‘he doesn’t do it for any of you cunts, he does it for himself’. Does that even reach you or not at all? No it doesn’t, I try to stay out of it on purpose. In any case, it doesn’t bother me with making music.

Is that maybe why you’ve thought up a hotel and casino? To escape everything? The idea to name a record after a place comes from how I feel about albums I really love. An album like that really is like a destination to reconnect with yourself. I so urgently wish I could rent an apartment on Dion’s Born To Be With You, an all-time favourite of mine. I’d pack my bags this instant and just leave for a while. I told you about that room with the piano in LA, right? At my place we call that room The Lunar Surface. It’s from that rumour how Stanley Kubrick just staged the whole moon landing in his basement. Every time I sat down to work on songs in my basement, I thought: he’s gonna come down to fake the moon landing any time now. That’s how the moon entered the story. And the calm, thanks to an Apollo mission.

Is Taylor a muse for you? For years now, you’ve surrounded yourself with models and great women. What kind of influence did those women have on your music? Is she my muse, you’re asking? Living together with Taylor brought stability to my life, giving me courage to talk about certain things on this record. It’s a conclusion a friend of mine came to when I played a couple of new songs for a few friends on the piano. He told me: your life is so much more stable than some years ago when you had AM. An understandable conclusion, but whether it’s the absolute truth and whether everything really is that black and white, I’m not sure of. Because songs are not always an exact depiction of how your world is at that moment. •

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