Everything You've Come to Expect

The band's first album The Age of the Understatement was released eight years prior, in 2008, to critical acclaim. Since then, Turner had released three albums with Arctic Monkeys, Humbug (2009), Suck It and See (2011), and AM (2013), as well as composing the acoustic soundtrack for the feature film Submarine (2010). Meanwhile, Kane had released his first two albums as a solo artist, Colour of the Trap (2011) and ''Don't Forget Who You Are'' (2013). Following the release of Kane's sophomore record, him and Turner were on the process of writing, what at the time, was thought to be Kane's next album. During one of those writing sessions, both "experimented with a vocal harmony" on a 8-track demo, which would later become "Aviation". This reminded them of their work on The Age of the Understament, but also they felt it was, "promising, in that it suggested there was somewhere to go with it as well". The album was written on acoustic guitar and on a Vox Continental keyboard, between Kane's apartments in London, Paris and Los Angeles. Most of the songs did not make the album, except for "Pattern", which the Last Shadow Puppets said was "the oldest song" in the album, in contrast with "Everything You've Come to Expect", which was the last thing written for the record. Core member and drummer James Ford produced ''Everything You've Come to Expect. The album features string arrangements from frequent collaborator Owen Pallett, originally the plan was for Pallett to go to the studio for two days, and then work independently from the band, but he ended up staying in the studio until the end of the sessions. Turner said Pallett helped in making the songs feel more cohesive, as he thought before he came in, "the recordings were a bit all over the place". The Last Shadow Puppets were also joined for the first time by Zach Dawes from Mini Mansions, on bass. Dawes later continued as a member during their live performances. Everything You've Come to Expect was recorded in three weeks, with all members in "one room", which Turner claims he had not done since Suck It and See''. The string parts were written on piano and later done separately in Hollywood studio United Recording. Turner recalled the sessions, felt like "a holiday" similarly to the ones for the first album, Pallett agreed and thought they were more "like hanging out with mates than work". When not in the studio the band would spend their time swimming, going to a nearby karaoke bar and to a sports bar. ==Composition==

Musical style and influences Musically, ''Everything You've Come to Expect has been described as "a louche canon of swooning noir-pop" that sounds "indebted to the baroque soundscapes of the 1960s". It has been characterised as Baroque pop, orchestral soul and psychedelic pop. The album further incorporates influences from desert rock, and its lead singer Josh Homme, and Gainsbourg, "I always just keep trying to make everything sound like Melody Nelson'' and getting nowhere near." The band also mentioned, Television, Foals, David Axelrod, Sparks, Dr. Hook's "When You're in Love with a Beautiful Woman", and Ned Doheny's "Get It Up for Love" as inspiration, as well as, Tears For Fears, Depeche Mode, and the Prodigy as bands they were listening to at the time. Turner further cited the bass line to Sonic's Rendezvous Band's "City Slang" as a heavy inspiration for "Bad Habits". Lyrics and themes Lyrically, ''Everything You've Come to Expect'''s main themes are hedonism, romance and self doubt. With the songs alluding to: sex and free love, prostitution, Being mainly "about the shenanigans young rock stars get up to in LA; lust figures often", it was described as "a west coast film noir fever dream, scored by Ennio Morricone, with Kane and Turner the doomed protagonists". Songs "Aviation", the opening track of ''Everything You've Come to Expect'', begins with an "echoing scrape of strings". Its first verse references sectoral heterochromia, an eye condition in which part of one eye is a different color from its remainder. Turner wanted to use the word "Colorama" in a song since the first time he saw Michelangelo Antonioni's Blow-Up (1966), he described it as, "an unplugged neon light at the back of my mind for years", about the line he added, "It doesn't make a ton of sense, but that's not really the point. I think, not always, but sometimes it's good to just have the lyrics facilitate a melody, like, that's harder to do, [...] — getting the fuckin’ ‘I Am The Walrus’ shit right." On "Miracle Aligner", the album is at its most "lush" and "seductive". Turner has said the beginnings of the song are "really old", Savior rejected the song, saying, "it's obviously about a coke dealer - it's a lifestyle that I didn't relate to myself". Another line, "I just can't get the thought of you and him out of my head", was described as "textbook Turner lust". soft-rock On "Sweet Dreams, TN", Turner "approximates a Nashville crooner" and has an "Elvis-in Vegas-turn" in what has been described as a "career best vocal". The track is a love song for his at the time girlfriend, Taylor Bagley, It has been described as "country-tinged" Both tracks are a "double bill of [...] moodier tunes" and due to their placement on the album have been said to "evoke the sense it's one epic track", both likened to a mix of previous Arctic Monkeys' works, "Suck It and See infused with the darker rhythms of Humbug". The line "And a wicked gale came howling up through Sheffield City Centre / There was palm tree debris everywhere" was an attempt to connect his native Sheffield with his, at the time, residence of Los Angeles. Turner claimed "It's a love song, after all. For a girl." "The Bourne Identity" is a "violin-heavy hero's lament", which stands as the last track on the deluxe version of the album. The song "comes back to imposter syndrome". Both closers have had its sound compared to "vintage Lennon, Bowie and Lou Reed" with "The Bourne Identity" further feeling "like a direct continuation of Turner's serene Submarine". ==Artwork and title==

The art for ''Everything You've Come to Expect'' consists of a photo of singer Tina Turner dancing, as photographed by Jack Robinson in November 1969 in New York City. Alex Turner had a replica of the photograph, which was gifted to him by a friend, hanging in his kitchen for many years. Both him and Kane chose the image, as they thought that it would make a great album cover. After the record was done they got in touch with Tina Turner's team and she agreed. Illustrator Matthew Cooper modified the original image and gave it a gold tint "to create an identifiable colour scheme and a warmer, more contemporary feel". Cooper told the BBC: "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". Alex Turner has also described it as "sort of a joke" because the band has only one other album, so there would not be that much to be expectant about. He also thought the string arrangements made the project inherently "sophisticated and elegant", which reflected in the title in "an amusing way", comparing it to a cognac advertisement. ==Release and promotion==

After speculation about work on ''Everything You've Come to Expect sparked by a tweet from Pallett, Ford stated in November 2015 that the album had been finished. The release of Everything You've Come to Expect was first announced on 3 December 2015, through a short video directed by Ben Chappell. The video depicted Turner walking through the studio towards the recording booth, interpersed with other shots of the Last Shadow Puppets. The video also features Ford, an orchestral theme sounds throughout, and ends with a title card announcing the band would be back in the Summer of 2016. Another teaser was released on 28 December and included snippets of new music. On 21 January 2016, the Last Shadow Puppets announced Everything You've Come to Expect'' would be released on 1 April and explained it to be the second installment in a trilogy of albums to be released by them. Singles The album's lead single, "Bad Habits", was released on 10 January 2016, alongside a music video directed by Ben Chapell. The video depicts Kane and Turner at a bar, where they performed the song live, interspersed with footage of them socialising and womanising. The next three singles, the title track, "Aviation" and "Miracle Aligner" were released as a video trilogy entitled, "The Italian Saga", directed by Saam Farahmand. It has been described as "a tale of mob, love and music in stunning Italian 60s CinemaScope". Although, "Everything You've Come to Expect" was first released on 10 March 2016, it serves as the second installment of the trilogy, with "Aviation", released six days later, being the first. The first two videos were described as "an intriguing Tarantino-esque two-parter, entirely set on a deserted Californian beach". The last installment, "Miracle Aligner", was released on 28 March 2016. Tours and other performances In January 2016, the band announced a tour of Europe and the U.S. which began that March, In February they extended the tour into July, with dates added in the United Kingdom, Ireland, Italy, Mexico and Japan. On 24 March, they played live in Cambridge. This was the tour's opening performance and the Last Shadow Puppets first performance since 2010. In March and April 2016, the band announced dates in Germany and England, and in May they announced their U.S. tour. During the tour the Last Shadow Puppets were supported by Jeff Wootton, Yak, Cam Avery and Alexandra Savior. The band also headlined several music festivals, including Coachella, Radio 1's Big Weekend, Primavera Sound, Rockwave, T in the Park and Lollapalooza in Chicago. In April 2016, the Last Shadow Puppets played a show at Webster Hall, while reviewing the show for Q, Georgina Newman said, "The giggles and in-jokes are merely colour, because The Last Shadow Puppets are far more interested in underlining how far they've come musically. The orchestral pop framework the band established in 2008 is now fully fleshed out, with some well-defined muscle". In July the Last Shadow Puppets played two nights at Alexandra Palace in London, on the second date, they were joined by Johnny Marr for a cover of the Smiths' "Last Night I Dreamt That Somebody Loved Me". They ended their 2016 tour on 26 August by playing at the Rock en Seine festival in Paris, France. The group were joined by touring members Davey Latter, Loren Humphrey, Tyler Parkford and string section members, Caroline Buckman, Claudia Chopek, Jennifer Takamatsu and Mikala Schmitz. Late Night with Seth Meyers, The Late Late Show with James Corden, and Later...with Jools Holland. In March 2016, they played an acoustic set at VOX Studios in Los Angeles, and a week later, an intimate show at Club 69 for Studio Brussel, where they played the album in full, as well as five tracks from their debut. Several live sessions were recorded for radio stations such as Sirius XM, Flux FM and BBC Radio 2. Another acoustic session was recorded for Spotify at their studios in London. ==Critical reception==

''Everything You've Come to Expect'' received positive reviews from contemporary music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 70, based on 28 reviews, which indicates "generally favorable reviews". ''Everything You've Come to Expect appeared on several year-end lists. Publications like Esquire and Fopp included the album in the top twenty of their year-end lists for 2016. Everything You've Come to Expect also appeared on Q'' 's top fifty. Other publications that listed the album on their top 100 included Rough Trade and Piccadilly Records. ==Commercial performance ==

''Everything You've Come to Expect'' debuted at number one on the UK Albums Chart, becoming their second album to do so, and Turner's seventh consecutive album to debut at number one in the UK. In addition, with 7,300 vinyl copies sold in the first week, the album outsold the first week of another Turner penned album, AM from 2013, by over 2,000 copies. ==Track listing==

Credits adapted from album liner notes. The Last Shadow Puppets • Alex Turner vocals, guitars, keyboards, percussion • Miles Kane vocals, guitars, saxophone • James Ford drums, percussion, keyboards • Zachary Dawes bass guitar, percussion, guitar, keyboards Additional musicians • Matt Helders backing vocals Production • James Ford production • Sean Oakley engineering • Ross Hogarth orchestra recording • Tchad Blake mixing • Brian Lucey mastering Artwork • Matthew Cooper design • Jack Robinson cover photography • Zackery Michael booklet photography • Matt Helders booklet photography • Ben Chappell booklet photography • Taylor Bagley booklet photography Orchestrations • Owen Pallett arrangement, conducting • Eric Gorfrain violin • Marisa Kuney violin • Amy Wickman violin • Daphne Chen violin • Gina Kronstadt violin • Alwyn Wright violin • Chris Woods violin • Leah Katz violin • Rodney Wirtz viola • Richard Dodd cello • John Krovoza cello • Peggy Baldwin cello • Ian Walker contrabass • Chris Bautista violin • Stephanie O'Keefe French horn • Sara Andon flute • Nick Daley violin ==Charts==

Weekly charts Year-end charts ==Certifications==