#arctic monkeys song analysis

[misskattylashes]

When insomnia drives you to think about this....

[sophaeros]

for all that the am album gets parodied and reduced to being "just about sex and clubbing" i think it's interesting how the album pokes fun at Itself for this subject matter. it's exemplified in no. 1 party anthem where it subverts the expectation that it would be, yknow, a party-worthy rock anthem like the rest of the album is up to that point. but even as it creates some distance between itself and its subject matter by being relatively slow and melancholy it is also very sincere in how it paints a portrait, almost a love letter to clubbing and the desperate 20-something year old search for connection. in characterising the club and the people in it as shallow in a self aware manner it also gives it depth by empathising with these shallow pursuits and showing how that shallowness reveals the very human underlying desire for connection and distraction from inner turmoil. idk i just think people do it a real disservice dismissing it. it's very much alex turner continuing to demonstrate his ability to reveal the romance and tragedy in our mundane everyday life

[franklyimissparis]

mr schwartz: a line-by-line queer-coded lyrical analysis

warning: this is quite long but mr schwartz is one of my favourite songs off the car album (and one of my favourites of alex’s in general) and i’ve ALWAYS read it as super queer but have yet to dive into precisely what makes it queer and the themes within it. it’s TRULY such an understated lyrical masterpiece.

Put your heavy metal to the test

- this is a play on words of the phrase ‘test your mettle’ which basically means to see whether or not someone will carry on through something that is difficult. immediately, this indicates that the relationship between alex and the other person is a difficult one and requires strength/determination to move forward with

- it also could refer to heavy metal music (which isn’t a very traditionally romantic genre) as is played off of in the next few lines

Might be half a love song in it all for you

- the phrase “half a love song” is particularly interesting to me as there are many ways to take it: it could be half a love song because it is unfinished or because it isn’t fully a love song (and both interpretations tie into other lyrics in the song)

- if we go down the route that it’s only half a love song because it isn’t fully a love song, it implies that there is more to the relationship than romance or that the song/relationship isn’t meant to be viewed (solely) through a romantic lens (but the other person may see it as such)

- whereas the idea that the song is unfinished could either suggest a lack of passion or the feeling that the story isn’t done yet.

- it could also communicate that the someone else needs to finish the song for alex - which is somewhat implied in the previous line. this could also indicate that, like alex, the other person gets musical inspiration out of their relationship

Timing wise, it’s probably for the best

- the use of “timing” ties in with the musical references but also highlights that the relationship is heavily tied to the timing of what’s going on in their lives (invoking “right person, wrong time” in a way)

- alex is acknowledging that because of forces outside of their control (i.e. time) it’s probably best they don’t pursue a serious relationship (or, like the previous line, a “full” love song)

Come here and kiss me now, before it gets too cute

- he’s asking his lover to quickly kiss him before they can let the moment become sweet, implying that, while he is fine with the physical aspect, the emotional side of things makes him uncomfortable

- musically, he also wants to avoid being cheesy or overly sentimental which ties in thematically with the ultracheese as well

- it’s important to note that this is also the only explicitly romantic line on the entirety of the car album: this (and the half a love song line) is the only line on the album that cannot possibly be read as platonic

Mr Schwartz is stayin’ strong for the crew

- here we switch to discussing the persona/character of mr schwartz, which as seen later, is obviously meant to be an extension/alter-ego of alex himself

- the reference to “staying strong for the crew” directly after talking about his lover implies that there is a conflict between the two: that staying strong for the crew entails keeping an emotional distance from his lover

- he recognises that those around him rely on him to keep up his persona to do their jobs (in this extended metaphor of a film set)

Wardrobe’s lint-rollin’ your velveteen suit

- alex is known to emphasise his personas via clothing choices and the velveteen suit is representative of that here. the crew removes any imperfections, like the lint, off of the suit (the persona)

- this also ties into alex’s obsession with perfectionism and control and how, though he is wearing the suit (i.e. persona), there is a mutual reliance between him and the “crew” to maintain his image

- also have to mention that velveteen is a rather untraditional material choice for something as traditional as a suit, there is a bit of a clash here between the two (a fully velveteen suit could also be seen as quite camp - and is also very 70s, which ties into eycte’s aesthetic too)

And smudgin’ dubbin on your dancin’ shoes

- dubbin makes leather softer and waterproof: again, others are trying to prevent damage from occurring to the persona

- this could also refer to the musical direction that the band has gone to in tbhc and the car: their music is softer and more contemplative than it was before, especially since ‘dancing shoes’ is also a song off of their first album. this could be commentary on how alex’s personas have evolved and the mixed reactions he’s gotten from his audience over it

Gradually, it’s coming into view

- we move from music imagery to film imagery with the line “coming into view”.. things were blurry or unclear before but he (or the other person) are slowly coming to realizations about their situation

It’s like your little directorial debut

- having a directorial debut suggests that this is the first time they are taking control of a situation and telling others what to do, they are directing someone else instead of being directed - with the word little being used to emphasise that this isn’t a massive change yet

- but he’s also directing himself to behave in a certain way: alex is directing his new persona, mr schwartz, in his debut

As fine a time as any to deduce

- to me this line also implies that this realisation has sort of been a long time coming, they’ve been through this cycle so many times that they might as well come to the realisation now

The fact that neither you or I has ever had a clue

- going into the next verse as well, this hints that alex and his lover have had struggles with seeing where alex ends and the persona begins and have also never been able to get their relationship right as a result

And if we guess who I’m pretending to be

- here he is confirming what is obvious: alex is mr schwartz and the persona is clearly differentiated from himself as “pretending”. alex and his lover are both keenly aware that mr schwartz is a persona which almost becomes a joke to them in the next line

Do we win a prize?

- alex pokes fun at how obvious it is to him and his lover that mr schwartz is a character but i think he’s also pointing out here: do we get anything out of the persona that i’ve created?

- he’s questioning, perhaps for the first time, if in the end keeping the persona up will be worth it to him and his lover or if it is all meaningless

Having attempted twice, both incorrectly

- okay so obviously the majority of us reading this are immediately going to go to a certain side project of alex’s and the two albums they’ve released (with talk of there being a third to complete the trilogy)

- this suggests that there have been two attempts at happiness between him and his lover but both times there was something fundamentally wrong with the relationship that caused them to drift, which is likely related to the act that he is putting on

Do we get a third try?

- the phrasing on this line is interesting as well as alex doesn’t ask his lover directly like “can we have a third try?” instead, he poses this question more existentially: will a third try be given to the two of them? it implies that he and the other person aren’t in control of their situation to some extent, they have to rely on being given chances by others.

- though this also could be interpreted as alex shirking responsibility of the situation onto others instead of being straightforward. he simultaneously wants and does not want control.

The gloved hand’s reachin’ in to hit the switch

- by wearing gloves, there is the desire to avoid leaving fingerprints/evidence of the relationship. and because the hand is gloved it is intentionally anonymous: is it alex’s hand? mr schwartz’s? the other person’s? or someone outside of things meddling in the relationship?

- interesting also that a switch is a binary thing: either on or off (gay or straight, platonic or romantic, alex or mr schwartz) ignoring the possibility of things being on a more complicated spectrum as is implied earlier (“half a love song”)

- hitting the switch is sometimes used as a euphemism for triggering a permanent change but can also be seen as a temporary action (the switch can be endlessly turned off/on), highlighting the back and forth in their relationship.

There’s not one goddamn thing that you can do about it

- this is the only time alex curses in the song which highlights how frustrating the persona and lack of power can be

- he feels stuck in the situation, just continuously flicking the switch between persona and reality, and indicates that his lover is also likely frustrated at this too. though they want to help fix the situation, they can’t, or at least they feel like they can’t

But Mr Schwartz is havin’ tea with the grips

- again, he’s switching back and forth between the real him and mr schwartz: while alex is frustrated and insecure about the lack of control in his life, mr schwartz charms those around him and takes hold of the situation

- more film imagery with mentioning the grips (those who help with camera and lighting equipment on a film set): to me, this line is fascinating as we’ve seen that everyone (including the crew) is working towards keeping the mr schwartz persona up and through the metaphor of the film set they are creating something imaginary, however, behind the scenes the grips still get to be real people with real families while alex, or mr schwartz, has to continue to keep the persona up.

Askin’ after all the wives and the kids

- the use of the phrase “askin’ after” instead of “talking about” etc. implies that the question is not mutual: mr schwartz is not being asked about his wife/kids because he does not have any and the others know it. yet he knows that it is important that he shows interest in their nuclear families. this is also clearly commentary on how alex is the only unmarried and childless member of the band

- it could be seen as him directing conversation away from his personal life: focusing on others and letting them talk is more comfortable than discussing yourself honestly and breaking the act

It’s at the heart of what the business is

- the final line of the song breaks down the essence of why the persona is kept up: ultimately, it is a business decision. alex understands how closely tied together business and personal lives are as a celebrity and is invested in the persona to keep the two separate, though by choice or force is up for debate

- also poses the question of whether or not he’s genuinely interested in their lives or if it is just business to him. it could be read as bittersweet in the sense that the heart of the business is human connection, but if you don’t conform you aren’t allowed to drop the act without punishment

- finally, this line also ties back to “staying strong for the crew”: he has to keep up the persona so that the ‘crew’ can continue to work and take care of their families. and hearing about them is both a reminder of what he is denying himself and what is at stake for the others.

to summarise: alex is torn between putting on the straight persona of mr schwartz and being truly himself within the fractured relationship he has with his lover - which has been heavily influenced by external and internal pressures. gee i wonder who the song is about (rhymes with schmiles schmane.)

[depressedraisin]

fire and the thud is such a. brain cell tickling song.

it is always touted as such a Love Song and it is- when u take “if you're gonna tell me where i'll meet you there” and “i did request the mark u cast to not heal as fast” out, it's like awwww how romantic <33333.

but the song as a whole. has such a...... sense of foreboding????? like the narrator *knows* shit is about to hit the fan soon. they (and the lover) are at a crucial turning point and they are about to do something big. but the narrator can see the tingly feeling of doubt and insecurity coming from a mile away. but they ain't doing anything about it. they're just letting themselves fall into it headfirst, the insanity of love probably. it's an unsettling vibe lmao.

a lot of other alex turner love song narrators share this as well, i feel. like they are aware they might end up doing something stupid or that they can't think or act clearly, and that the lover is someone who has that sway over them. and they whole heartedly welcomes that. he *will* sneak a "be cruel to me, 'cause im a fool for you" in the sweetest of songs.

[prettyyvisitor13]

body paint | song analysis

my interpretation of body paint!! i just tried to explain whats in my head. you might agree or disagree, and i wanna say im not forcing you to believe me at all! also i talk english in the most basic way lol its not my native language so some parts you might even laugh at my sentences aksksk anyway, i hope you enjoy it <33

[paperlovesadness]

Ah... I feel a bit strange doing this. Might just stay in the drafts forever. We'll see. But my hands itch to do it every single time I listen to the song so... So here's a lyric analysis of "Star Treatment" and how... it might?... be? A song... About... Miles Kane?? Maybe??? 🫣 (no executions please. I'm really not trying to push this narrative. These things just kind of jumped out at me & I felt an urge to write it down somewhere. And perhaps see if anyone agrees? Comments encouraged! If anyone ever stumbles upon this silly thing) This will get long... Cause that's who I am. And also it references other songs.

Disclaimer 1: I did see someone attempt this on reddit. It was a bit out there though... And maybe ironic? I do share a thought or two with them though.

Disclaimer 2, an Important one: this does rely on an implication that there was something more between the two sometime around/ between 2015-2017ish? I don't want to put any labels and try to stay away from any too specific guesses. But well, I suppose I do kind of personally believe there was something there. If you're not a fan of theories about private lives of real people... I'm sorry. This one's not for you. I really do try to do it as respectfully as possible though. At the end of the day - it's just a theory. And not a mean one. I understand it's all just something that fits together in my head and may be very far from any truth. Disclaimer 3: I know this album is a concept album centered around characters. But I'm analyzing the second, potential autobiogrophical hidden layer beneath the obvious first meaning

Okay, let us have a whack at it now:

I just wanted to be one of The Strokes Now look at the mess you made me make Hitchhiking with a monogrammed suitcase Miles away from any half-useful imaginary highway

This one is very on the nose. But quite literally sneaking in his name in the lyrics -- maybe? we know Alex loves playing with many meanings/hidden messages & double entendres. + the being away from any half-useful imaginary highway makes me think of when he spoke about the fact that he couldn't write any more love-related matarial after EYCTE. And someone encouraged him to just go a different route. That's how TBHC was born. But also implies some trouble in the love-related ascpects of his life around the time. Could've just been trouble around Taylor - who he broke up with soon after the album's release. There's theories about how that happened [current girlfriend invloved] - but maybe there was even more confusion & heartbreak in the mix (ending a tour with someone with whom the lovey-dovey jokes may have gone a bit too far/serious?)

I'm a big name in deep space, ask your mates But golden boy's in bad shape

this is just implying any sort of broken-heartedness.

I found out the hard way that Here ain't no place for dolls like you and me Everybody's on a barge Floating down the endless stream of great TV 1984, 2019

dolls = puppets. And how the industry / society isn't a good place for relationships like this. (People wouldn't understand the type of bond they share?)

Maybe I was a little too wild in the '70s Rocket-ship grease down the cracks of my knuckles Karate bandana, warp speed chic Hair down to there, impressive moustache

Miles and Alex have spoken many times about how their first album was heavily 60s inspired - Scott Walker, The Beatles, 60s Morricone.

What may be less obvious and spoken about is how EYCTE was sort of meant to take their work into the 70s. He spoke about it in an interview when asked about the album cover. It's a 1969 photo of Tina Turner - which Alex commented on by saying: "The idea was to move the artwork on from the ’60s feel of the first Last Shadow Puppets album artwork, so here is Tina on the very cusp of the 1970s" (They also chose to sing covers like Moonage Daydream and Is This What You Wanted during that tour. Both 70s songs from artists that defined the era). So this could be him reflecting on the EYCTE era and how things may have gotten a bit too far during the time. Going in to deep, crossing some boundries and definitions?

Love came in a bottle with a twist-off cap Let's all have a swig and do a hot lap

alcohol? pills? alcohol & or drugs clouding some judgement/helping loosen up and causing the crossing of certain [friendship] boundries?

So who you gonna call? The Martini Police Baby, that isn't how they look tonight, oh no It took the light forever to get to your eyes

It's not a particularly meaningful line in terms of this narrative - but I wanted to talk about it because I find it so beautiful but also so fuck*ng sad. Like - one of he saddest lines I've read. It just hit me in the heart straight away when I heard it. I feel like my personal interpretation is dead wrong. But still choose to see it that way. I also know of the story of how it's inspired by Alex's dad telling him about how we see the light of the stars the way it was in the past bc of how long it takes to reach us. The way I hear this line though is: seeing the bottomless sadness in the eyes of someone who had their heart broken. Someone whose eyes used to be full of happiness - and now it takes forever for any touch of happiness to show up in their gaze. Now a possible interpratation for a second meaning to this whole section could be: calling the martini police = grabbing a drink to help with hearbreak, when there's no other solutions left. Miles has sang in his breakup album Coup de Grace about how he drowned the sadness after hearbreak in alcohol and pills. Mixing stuff together like a mad scientist etc. (Also if you ever saw the interview he did with [the one and only] Martin on his CDG album... Oof... Yeah. There was no light in that man's eyes. Even Martin saw that pain and commented on it. It's a tough one to watch)

I just wanted to be one of those ghosts You thought that you could forget And then I haunt you via the rear view mirror On a long drive from the back seat

This is one of these sections that hits me the most. Cause to me it can be seens as: Alex being aware of how much pain he caused - all he could wish is that he was just another lover whom the hearbroken person [Miles?] could forget. But alas - he still haunts him. Here it gets interesting (or batshit crazy. Cause I might be). Beacause the use of "ghost" just absolutely sends me to Miles' song "Shavambacu" - where he describes the eyes/thoughts of an ex lover still being focused on him after the breakup (this song though could have a whole seperate post of it's own) While "haunting via a rear view mirror" made me jump up and recall lyrics from Miles' song "Dont let it get you down". I saw your reflection, in The backseat of a Chevrolet from Hollywood to East LA NOW - don't shout at me. I know timelines are important. Because Shavambacu and Star Treatment came out around a similar time period. But Shavambacu came out a little bit later. While DLIGYD came out completely after all of hits - this year. So first off - I'm considering the fact that Miles and Alex are clearly still friends and in contact. So could have shown each other songs earlier. But more plausible theory: if these songs are perhaps maybe inspired by one another - they clearly are gonna recall events and/or inside lingo and jokes they both used. Possible situation: post Miles-Alex hearbreak Miles stumbled upon Alex going somewhere in a car. They spotted each other. this also makes me recall the whole:

Swear I saw you smile You try to hide it well 3:15 on the wrong side Columbia Street line from "Killing the Joke". Which many think references the area that Alex lives in. They lived a few minutes away from each other around 2016-2017. So would obviously run into one another often. Even if they were going through something and taking a break/trying not to.

But it's alright, 'cause you love me And you recognise that it ain't how it should be Your eyes are heavy and the weather's getting ugly

This one is also way to sad if you place it in a relationshippy context. There's a few ways I see it: 1) it's alright - no matter what happens, because A. knows M. loves him and will understand why things ended like they did. It shouldn't be this way - but it has to be, because there's things standing in the way. He believes he'll understand despite the grief. 2) dramatic, sad version - the "it ain't how it should be" actually references the "love me part". So M. should understand that things ended because they shouldn't love each other this way. It's just now how it should be and A. believes M. recognises that.

So pull over, I know the place Don't you know an apparition is a cheap date? What exactly is it you've been drinking these days?

once again referencing bumping into each other randomly? And going with it - going some place; talking. Maybe about how Miles' is doing, the heartbreak, how he deals with it - the alcohol (once again - just referencing what he himself sang about in lyrics on his breakup album)

Jukebox in the corner, "Long Hot Summer" They've got a film up on the wall and it's dark enough to dance

"Long Hot Summer" - by The Style Council is actually a song Alex cited to be one of the main references/inspirations used when working on the EYCTE album. So is definitely a nostalgic/meaninful song between the two. They go to a place after bumping into one another - there's a jukebox with a nostalgic song. They can dance together - because it's an incognito, dark place.

What do you mean you've never seen Blade Runner?

Now the Blade Runner line is so clearly Taylor Bagley (the woman is a huge, huge fan of it, apparently) it did have me stumped for a while. But then - maybe it's a clarifying line? Like - if this were about Taylor he would definitely not say that to her. It's obvious she's seen it a million times. Maybe this is here to sort of clarify this?

Oh, maybe I was a little too wild in the '70s Back down to earth with a lounge singer shimmer Elevator down to my make-believe residency From the honeymoon suite Two shows a day, four nights a week Easy money

70s again - EYCTE era But after the tour ended it was time to go back to earth, back to being non-TLSP Alex. Running away from reality into writing music - writing about a make-believe residency (Tranquility Base) Time to leave the honeymoon era = the tour and shows TLSP had together. (also AM may be easy money? Their reputation [very well deserved] makes it so that it's easy - bc anything they come out with will be bought)

So who you gonna call? The Martini Police So who you gonna call? The Martini Police Oh, baby, that isn't how they look tonight It took the light absolutely forever to get to your eyes

...

And as we gaze skyward, ain't it dark early?It's the star treatment Yeah, and as we gaze skyward, ain't it dark early? It's the star treatment It's the star treatment The star treatment

a sad ending. It got dark. A bit too early. It's sad that it all ended. But that's how it has to be - in show buisness, in the industry. They're well known people and it could hurt their careers - also it would just get out easily, so there's no room for self-discovery and just trying it out. That's the star treatment. (This is also a theme I am seeing in Mr. Schwartz lyrics. But that's for another time) Am I crazy? Probably! Is this just accidental elaborate fan fiction? Maybe! But still...I don't know. Song theories are fun. I get that morally it's a gray / or maybe even red area - talking out loud, publicly about theories invloving specific names and relationships. But like... Sue me! Let's call it a guilty pleasure. If anyone ever reads through this wall of text... Hi! Thanks and sorry. And please share some thoughts! (Eh. May just delete this soon anyway) Peace and love

[spef-mp3]

Cornerstone being my favourite Arctic Monkeys song has everything to do with my love for tragedy embedded storylines. Like guy loses his lover and is haunted by visions of her at every pub he visits to try and drink his sorrows away?? Guy begs the women he tries to rebound with if he can call them by his dead lovers name?? Guy claiming to smell the scent of his dead lover on the seat belt of a miscellaneous taxi cab that she has probably never step foot in, because that's how strong he's haunted by the memory of her?? Guy entertaining the idea that his lover isn't really gone but merely in hiding, and being so distraught at her absence that he begins to questions if she was even real at all??? Guy becoming so desperate to replicate his lost lover that he resorts to not only going out with her sister but calling the sister by her name??? The sister presumably also being in a state of grief agreeing to this arrangement in an effort to bring some part of sister back to life???

[maybemoonout]

Hello :) Been listening to JOTM recently and reckon there is a tenuous Milex interpretation in there somewhere - interested in your thoughts!

'Jet skis on the moat' I don't think gives much of a clue actually, as Alex has said was the first line he sang over the instrumental, so probably just an image he liked.

'They shot it all in CinemaScope' & 'Showstoppers anonymous' could referring to his relationship with MK in the EYCTE era, where they were constantly in the limelight. I think a handful of subsequent AT lyrics reference letting himself go when on stage with Miles and then after feeling ashamed/embarrassed (e.g. 'do you celebrate your dark side then wish you'd never left the house', plus clock his facial expression in the 2018 Annie Mac interview when she brings it up), so for me 'Showstoppers anonymous' places the song in that territory. And compared to the other members of AM, Miles is clearly the 'showier' stage presence, something he and Alex have often acknowledged in interviews.

'As though it's the last time you're gonna ride' & 'Come over here and give your buddy a hug; So much for decidin' not to let it slide' could be about a breakup convo, which is clearly a major theme/preoccupation for the album. Although the lyrics are pretty ambiguous, the music is sad/soulful - and Alex has said in interviews (including recent Jools Holland) that you need to interpret the more coded lyrics along with the melody/arrangement to see the romantic element at play. One reading could be that this is Alex initiating a post-breakup hook-up - getting together for one last 'ride', despite deciding they weren't going to go there. This makes sense for me intuitively if you think about the undefined nature of their relationship, and some of Miles' lyrics maybe hint in this direction too.

'Is there somethin' on your mind; Or are you just happy to sit there and watch; While the paint job dries?; When it's over, you're supposed to know' could refer to the aftermath of the hookup, particularly as 'paint' keeps cropping up as a very veiled but possibly suggestive image (e.g. in 'Body Paint' and 'Anyways). I'm imagining AT addressing a sad/pensive MK after they have slept together, but it could also just be the aftermath of a difficult convo or the general period following a breakup/rupture in their friendship.

'Lights out in the Wonder Park' has genuinely got me wondering if there was some kind of break-up convo between MK and AT in a fairground/similar. Lots of folks think MK's Caroline is about AT (he admitted he changed the name and pronouns), and that refers to 'We're sitting on the carousel [...] My god I know this all too well'. Plus Golden Trunks mentions 'Mr Winter Wonderland' - and I've always thought that tune is about MK.

'Your saw-toothed lover boy was quick off the mark' is the only line that directly tells us the person he is addressing is not just a 'buddy'. 'Loverboy' and 'buddy' taken together place this very firmly in Milex territory for me - I think buddy has got to be a male friend, and there is clearly one major candidate. for very close/intimate male friend-turned-lover.

'That's long enough in the sunshine for one night' isn't telling me much tbh, but I do think there are various allusions to be found to AT as moon to MK's sun in various lyrics?

'Didn't recognize you through the smoke; Pajama pants and a Subbuteo cloak; You know that it's alright if you wanna cry' again not telling me that much, but the cloak image kinda reminds me of when AT tied a fan's banner onto MK as a cloak during an EYCTE gig? Plus clear from lots of MK lyrics he did shed many a tear over this breakup - so the 'you know it's alright' line could refer to that?

Anyway well done if you made it all the way through that - and would love to hear your thoughts!

Hi anon! Are you the one who also talked about TDS and Ultracheese with me? If you aren't or are sorry if I don't recognize T_T I have difficulty remembering speaking patterns and stuff. Either way, welcome! And thank you for entrusting your thoughts to me and also having faith in mine! Also, I would like to apologize for this answer to have taken so long, I had been busy the past few days and I have only recently found the time to properly research and consider my answer for this ask. I hope it's not too late!

Now going back to the topic at hand, Jet Skis On The Moat. You don't even know the insane amount of happiness I felt when I saw you asking about JOTM because it is quite literally one of the first songs in the album that I had labeled my favorite. I love the song so much, very jiggly. After reading your own analysis on the lyrics I also wanted to share my own, since I think we have a lot of ideas in common.

Anyways I do have a lot of thoughts about this song so I think it would be unfair for me to not talk about it in its fullest, so I suppose this will be my first ever song analysis that's actually complete.

Some disclaimers before we start:

Of course as well as anon I do mention Miles in my analysis, although of course my entire perspective is not entirely milex based or in the milex perspective, I do have some thoughts that relate to him.

I am in no way some lyrical expert, I'm not Alex Turner or related to him in anyway. I'm just a fan who likes to over analyze. So please, if you ever read this, take it with a sack of salt.

Now that's out of the way, let's get started.

Jet Skis On The Moat Song Analysis!

[Verse 1]

Jet skis on the moat // Mentioned in this interview, Alex says its kinda just the first line he thought off when singing over the instrumental like you have said! It's exactly like the line "I just wanted to be one of The Strokes" in Star Treatment.

They shot it all in CinemaScope // Based from Genius, CinemaScope is just a specific Camera Lens used in widescreen movies. We all know Alex is a big movie nerd so this isn't much of a surprise.

As though it's the last time you're gonna ride // Based from the first two lines above, what I THINK this line is saying is like someone taking all these photos and videos, basically collecting as much memories as possible since they think it's the "last time they're gonna ride" or the last time they'll experience this.

Showstoppers anonymous // I think this line pertains to being famous for someone you're not. Like how Alex's greaser persona in 2013 is arguably his most famous one, but it's not really him. Hence "showstoppers" -> fame/famous people "anonymous" -> unknown/not really who he is. "Showstoppers anonymous" -> someone whose famous for being someone they're not. I assume this pertains to Alex.

Come over here and give your buddy a hug So much for decidin' not to let it slide // Similarly with anon, I do think this part is related to an event that happened in Alex's life that's sort of a broken relationship. What I have in my head is that possibly the "give your buddy a hug" line could be about asking for forgiveness, and the "so much for decidin' not to let it slide" is saying that "so much for not letting this relationship get ruined" or something like that. "I'm sorry that I let our relationship go, please come here and hug me" kinda like that, aksgaksahsga I hope that makes sense.

[Chorus]

Is there somethin' on your mind Or are you just happy to sit there and watch while the paint job dries? // I don't really know how to explain this one well so bear with me. In my mind the situation is like this: Whoever Alex is referring too is NOT saying anything about what's happening between them, and chooses to ignore whatever is happening and just watch everything go by because it's like an inevitable end. The sun goes down, the ocean waves, and paint dries. Like there's nothing you can do about it, and whoever Alex is referring to in this has accepted that, so they're just sitting back and "watching the paint job dry" or just letting it come to its inevitable end. BUT Alex KNOWS there's something there in their mind, they're just not talking about it, or else he wouldn't have asked in the first place, or the person in question wouldn't have stayed to watch the paint dry in the first place.

When it's over, you're supposed to know // Keeping up with the situation I said above, basically how I see it is that the other person should be the one to know when this relationship is over, because they're the one watching it go by and dry up. It's like if the other person is watching the relationship dry up, Alex is watching them.

[Verse 2]

Lights out on the Wonder Park // Probably all the mentions of a "wonder park" I think refer to some sort of like honeymoon phase in Alex's life, and how that phase of pure enjoyment and happiness has come to an end. That's also why I think every time a "wonder park" was mentioned they were in relatively sad songs. Including that one about Caroline as anon mentioned, despite it's upbeat tune have a very sad backstory.

Your saw-toothed lover boy was quick off the mark //I really like anon's mention of buddy and lover boy, since I did mention before about gendered terms in their songs and Alex has since taken a sharp turn away from using them. I think buddy and lover boy though, refer to himself. I think HE'S the saw toothed lover boy. I again don't really know how to explain it but I think saw-toothed lover boy again refers to Alex's persona on stage or in public or whatever mask he puts on in front of people. I don't really know what to think for "quick off the mark", maybe it's something like escaping from a situation the moment he can? Like the moment he can find a way to back off a conversation, the moment he can finally stop using his mask and his persona, he'll do it.

That's long enough in the sunshine for one night // Kind off related to what I said for the line above, I think sunshine could possibly mean kind of like a spotlight and/or a situation that gives him happiness. Kind of like he's telling himself that he's having too much fun and he should stop taking more of it from whoever or whatever he was getting it from. OR it could also be talking about his success as a rock star, he's already had so much, so he's been long enough in the "sunshine" now. ANOTHER one, more Milex-y is the "honeymoon" phase everyone considers ETYCTE Era to be. Ending it was basically them leaving the sunshine, because it was over and it was enough and they had to move on. Many interpretations for this one.

Didn't recognise you through the smoke // "smoke" could possibly be some metaphorical thing for persona's again but this is kind of a stretch (technically everything I said was a stretch but oh well). Possibly the person he's referring to has also covered themself up with so much "smoke" or fake persona's that when he sees them he almost doesn't recognize them.

Pyjama pants and a Subbuteo cloak // Apparently Subbuteo is this little table game where you play football with a bunch of these figurines, and the cloth for subbuteo Alex used as a cloak when he was kid (based from this interview). Hence, pajama pants and a subbuteo cloak. Little fun easter egg though which is probably unrelated to the song, but Miles has this partnership (?) (or maybe he just likes their clothing) of this brand called "Pretty Green". If you look at their Instagram you can find posts about Miles, and coincidentally enough, they launched a subbuteo line. Miles doesn't wear that line though, I just find it kinda funny and coincidental HAHAHAHAHA.

You know that it's alright if you wanna cry // I think this one is just Alex telling whoever he's referring to that it's okay to show him emotions, it's okay for them to tell him what they're feeling, he won't turn away, he won't judge.

WOW this ended up becoming long I'm so sorry T_T HAHAHAHAH. I hope I made sense and I hope you can read this without getting a headache.

Please be reminded this is all just speculation and my own person view on the song, it's in no way actually confirmed "correct". Music is an art and art is always interpreted by the viewer, so if you have your own thoughts please do share and stick with them.

Thank you so much to anon for giving me a lot of views on this song! I hope mine is up to your standards as well T_T. And to everyone else reading, I do hope you enjoyed!

To anon, if you have anymore thoughts, please do not hesitate to give me some more asks in my inbox, I absolutely love 'em, so I do hope I see you soon! Thank you so much again!

[lioness-of-the-seas]

What do they put into arctic monkey songs because I can't stop listening

[racing-stripes]

all of you are wrong the mirrorball is not miles it's alex's "prize" for being famous & The Car, with all its introspection and self-reflection, functions as a goodbye album even if it isn't the arctic monkey's final one.

so basically. most if not all of the car is by alex TO alex (with notable exceptions). alex has never had a chance in his life to Not be famous- i mean, whatever people say i am was the fastest selling debut album in british history, and the bands' fame has only skyrocketed from there.

so alex, who has never not been famous, doesn’t know what his "prize" should be for going through all of it, he doesn't know what he should aspire to anymore. the mirrorball is some sort of consolation prize for going through so much. some vague thing he can Win once and for all, to say he deserved it.

for specific lyric analysis:

"don't get emotional, that aint like you"

an expectation of him imposed by an audience. more later.

"yesterday still leaking through the roof / but that's nothing new"

this sets up this album's theme of self-reflection. alex is acutely aware of his past and how he's changed. again, more later.

"i know i promised this is what i wouldn't do / but somehow giving it the old romantic fool / seems to better suit the mood"

i think this song, if not all of this album, is reflecting specificially on the audience's expectations of him around AM era (& after with tbhc, how he defied those expectations). he was a sex symbol, a "golden boy," the epitome of a romantic writer. after AM, he didn't want to do that anymore-- the "promise"-- but he's still an "old romantic fool."

"so if you wanna walk me to the car / you ought to know i'll have a heavy heart"

the car in this album comes up a lot (obviously, lol). i think the car is not a person. it's his escape from fame that he's after, his way out. but the fame is all he's ever known, and he's come to appreciate it, hence the heavy heart.

"so can we please be absolutely sure / that there's a mirrorball?"

the mirrorball is phrased like his reward for escaping that he'll get once he reaches the car. and i don't understand much beyond that, but i think it's nebulous on purpose. the mirrorball is what will make him feel okay, heal his "heavy heart." maybe it's a person, sure, but i think the important part is how he's itching to escape his fame.

"and how's that insatiable appetite / for the moment when you look them in the eyes / and say 'baby, it's been nice?'"

i've been stuck on this lyric for a while because of its romantic undertone with the "baby" and how it reads like the ending of a romantic partnership. but in context of him wanting an escape from the expectations and perceptions of an audience, i think it makes sense as the fantasy of saying goodbye to an audience once and for all. and this is def a fallacy although i'm not sure which one-- but doesn't he enjoy calling his audience at shows "baby?"

other rant which is probably incorrect or problematic in other ways because of how much intent it's attributing:

in the context of his alter egos, wouldn't it be fun to picture a mirrorball as the parts of his "fractured identity" making up a whole?

all the tiny pieces of mirror, all fracturing light slightly differently, making up one whole collective but fractured identity..,

[misskattylashes]

This was pretty easy to do. A song about friendship, forbidden kisses and possibly blow jobs...

[sophaeros]

golden trunks theory but i've forgotten how to do literary analysis:

so i think much like a lot of tbhc golden trunks is about a juxtaposition between intimacy/desire and the facade u have to put up as a public figure

like the opening verse/chorus are so starkly plain in the mental image they describe. it's just a simple portrait of an intimate night falling asleep together, and theres a very secretive tone created by the words "whispered" "admit". so from the get go we know immediately that it's about "true love" → romantic connotations, and this true love is associated w the night ie secrecy

this is a stark contrast to the second verse and bridge but esp the bridge where he plainly says "in the daytime". usually the day and light are associated w truth and revealing things but here he uses the daytime to talk about "a fresh new pack of lies", in contrast to the nighttime's "true love". the fact that the bridge is about being a celebrity and contending with lying for the sake of public relations is made very clear w how he says "bendable figures" → public figures who just bend/conform to the narrative crafted by pr managers, and most obviously w the use of the word "publicise". in an interview w la times hes asked if he enjoys being a pop star (w all the pressure and attention that entails) and he says "i have very little basis for comparison. the band has been going on for a larger fraction of my lifetime than it hasn’t." so as a very private person even leaving conspiracy theories about sexuality aside hes obv familiar w trying to keep the details of his relationships out of the spotlight. + this idea of the nighttime being the time for truth has been used before in diwk so it's a consistent theme

lots of people say the song about politics bc of the second verse cuz they say it's about (eugh) donald trump but i feel like thats a very surface reading. it's very out of place to me for him to have this randomass political commentary in a love song that he never brings up ever again which is why i dont think it's actually political commentary (or well, not Just, the pitchfork interview shows that is Is aware of politics obv it's just not the Point) it's just another angle to illustrate the idea of a public facing facade. he states in an interview that he thought of the wwf, which has given us the very interesting concept of kayfabe: the fact or convention of presenting staged performances as genuine or authentic. the public persona, like a wrestler w a dramatic theme song, is larger than life, rehearsed, beloved and famous, and also very much fake. 

this next part i said entirely as a joke making shit up while talking to my mutuals but then i was like wait maybe i was cooking. we're getting into more speculative rpf territory here but essentially i thought it was very interesting how he specifies that this is "the closest thing to a love song on this record", and also that the character it's centred around is one that he "made". many of his past love songs everyone knows are about his real actual love interests (eg shes thunderstorms was about alexa. alexa was a tv presenter) and now here's this song that is about simple, straightforward admittance of desire towards someone that doesnt exist. summed up in my og message to my mutuals, "hes singing to the amalgamation of his lovers an imaginary ideal to whom he can be simple and honest with in a way he can't quite bring himself to be in real life". i honestly feel like this gels well with the ultracheese's last two lines; a vague admission of guilt, of complicated feelings, vs capitulating to honesty and tiring of lying for the sake of pr ("i'm sure you've heard about enough"). + i find it interesting that golden trunks is that only tbhc song that has never been performed live

++ this idea of duplicity and lying has come up a lot in his discography but in tbhc specifically the bside anyways has the line "what a place for both the opposite sides / of my double life to finally collide"

and finally. the absolute funniest part of golden trunks.

Let me set the scene: sometime between Axl Rose getting braids (2002) and People Just Do Nothing jumping the shark (right now), those brothers in melodic yarns Turner and Kane, plus “another human being” – let’s call her “The Girl”, shall we, to save her poor mother’s heart condition? – are intertwined among the postcoital flotsam of an upmarket hotel room. “Hey, I’m glad you came,” Turner is alleged to have said, forever on the right side of etiquette and politeness in such matters. While Kane, in his sludgy Scouser lilt acknowledged, “Ah, thanks, man.” At which point Turner sat bolt upright in his sparkly gold briefs (unconfirmed) to stress who, in fact, his grateful aside was aimed at: “Not you, you wally. Her!”

sauces: - quotes curated by genius - la times - gq magazine / tumblr post

[franklyimissparis]

mr schwartz is one of the gayest songs alex has ever written, there i said it. and all right yes any song that has references to putting on a persona/leading a double life/hiding in any way WILL inevitably come through as queer to my gay arse regardless of the actual intention behind them. and yes we’ll never really know where alex’s head was at when he wrote the song or what it was about.

but. i just find it interesting that the song with the most explicitly romantic - as in, cannot be interpreted as platonic - lyrics on the car album (‘might be half a love song in it all for you…. kiss me now before it gets too cute’) is also the song that includes such heavy-handed references to pretending to be someone else, specifically in order to avoid letting others (‘the crew’) down. much to think about.

[daddy-long-legssss]

@uhbasicallyjustmilex said some of the songs on ‘romance’ sound like long lost friends of ‘humbug’ and you are so right.

mahaonthegramophone on ig (who writes incredible arctic monkeys lyrical/album analysis btw) made the comparison between ‘bug’ and ‘joining the dots’.

both are very similar sonically and even the lyrics draw some parallels which she talks more about in this post.

[prettyyvisitor13]

despair in the departure lounge | song analysis

i make these sometimes on my stories but i wanted to post them to here too!! seems like people here cares about lyrics so much and that made me very happy 😩 that one was one of my favourites, lets see if you're gonna like it :)