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Submarine (EP)
Submarine (EP)
Submarine (EP)
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Submarine
EP / soundtrack by
Alex Turner
Released14 March 2011 (2011-03-14)
Recorded2010
Studio
  • One Inch, London
  • Air, London[a]
Genre
Length19:03
LabelDomino
ProducerJames Ford

Submarine is the debut solo EP by English musician and Arctic Monkeys lead vocalist Alex Turner, released on 14 March 2011 by Domino Recording Company. It was written by Turner in 2009, on an acoustic guitar, at his New York City home. It was produced in London by frequent collaborator James Ford, alongside guest musician Bill Ryder-Jones, and string arranger Owen Pallett. The EP consists of six original songs that act as the soundtrack of Richard Ayoade's debut feature film, Submarine (2010), based on the novel by Joe Dunthorne.[1] The artwork is a resized version of the film's poster, which depicts lead actor Craig Roberts.

Submarine is a departure from Turner's previous guitar-heavy work, with the Arctic Monkeys, and more in line with the baroque-oriented sound found in The Age of the Understatement (2008). It features an Indie folk sound, drawing influences from baroque pop and psychedelic pop. Instrumentally, it incorporates acoustic guitar, drums, organ, and piano, featuring strings in one track. Its lyrical content matches the melancholic tone of the film, exploring romance, loneliness, and depression.

Despite its stylistic deviation from Turner's previous oeuvre, Submarine was released to generally positive reviews. It peaked at 35 in the UK Albums Chart while also charting in France and Ireland. Following its release the record appeared on The Times's 2014 list of 100 Soundtracks to Love. Retrospectively, Submarine is considered a stepping stone in Turner's continued musical experimentation, leading to one of its tracks, "Piledriver Waltz", being re-recorded by Turner's band Arctic Monkeys, for their fourth album Suck It and See. The soundtrack has been described as being the most discussed feature of its accompanying film, contributing to its lasting popularity.

Background and recording

[edit]

Turner's previous record as part of Arctic Monkeys' Humbug was released in August 2009 to positive reviews from critics, that noted the album's tone was darker, compared to the band's previous work.[2] Following the release of Humbug, film director and friend Richard Ayoade was directing a film adaptation of Joe Dunthorne's novel, Submarine. Ayoade thought of Turner for the film's soundtrack, with the only concern of seeming "imposing" by asking him to do "a load of work."[3] Turner said that making music for a film was something he felt was not "qualified to do" but that this was "an exception" due to his friendship with Ayoade.[3][4] Initially he approached him with the idea of doing cover versions, similarly to how it was done in The Graduate (1967), but ended up using six original songs written by Turner. Some of the versions that were recorded included John Cale's Fear is a Man's Best Friend and Big White Cloud, Nico's I'm Not Sayin', and Irving Berlin's How Deep is the Ocean?[3][4]

After touring Humbug, Turner wrote the songs at his, at the time, home in Brooklyn, New York.[5] He already had some done– including 'It's Hard to Get Around the Wind' and 'Hiding Tonight'– that he felt could not be released with Arctic Monkeys or his side project The Last Shadow Puppets, due to him "picking an acoustic guitar" not fitting the bands' current styles.[3][4] He found that relaxed type of playing "refreshing." Turner showed those songs to Ayoade and then wrote the rest, although he had read the book at Ayoade's request and watched the dailies from the film set, he said they were not particularly written based on the film scenes.[3]

In April 2010, Turner recorded the EP at One Inch studios in London with frequent collaborator James Ford serving as producer. Him and Ford played most of the instruments while Bill Ryder-Jones played guitar on two tracks.[6][7] Strings for "Piledriver Waltz" were recorded at Air Studios in London, and arranged by Owen Pallett, who had previously worked with Turner on The Last Shadow Puppets' debut record.[8] At the time, the edit of the film was more advanced, "Richard came down, and we played with some of the structures of the songs to make them fit a bit better, in terms of the length being right" Turner recalled.[3]

Composition

[edit]

Musical style and influences

[edit]
Several music critics cited Richard Hawley as having influenced the EP's style.

In his first effort as a solo artist, Turner changed his habitual rock style for a more simple, acoustic driven sound. It has been characterised as Indie folk.[9][10] Further incorporating influences from baroque pop[8] and psychedelic pop.[11] Its sound has been described as being "in a stripped down, mainly acoustic vein."[9] Instrumentally, it incorporates acoustic guitar, drums, and piano, featuring strings in one of the tracks. In terms of lyrics, Turner tried to avoid, "making them about the character too much, or [...] being like a narration," and wanted them to complement what was happening on screen, "without it being too direct, that was like the balance we trying to strive for, certainly in the lyrics and the tunes."[12]

The EP has been compared to the works of Richard Hawley,[11][10][9] Bob Dylan,[11][13] Simon and Garfunkel,[9] John Lennon,[10] Roy Orbison,[9] Scott Walker,[9] and Cat Stevens's soundtrack for Harold and Maude.[14]

Songs

[edit]

The EP's opening track, is a snippet of "Stuck in a Puzzle," the fifth track. The intro is followed by "Hiding Tonight," which has a "Richard Hawley-esque tone,"[15] with a "totally unobtrusive" instrumentation,[9] featuring a "quiet guitar,"[15] and "dry electric notes" that "echo around the periphery upon a invitingly fuzzy organ drone."[9] With a "undramatic and unhurried" melody, and similar vocal delivery, that retains Turner's "characteristically wordy style."[9] The lyrics make a reference to the traditional game coconut shy.[10] Overall, the song has been described as "a gently meandering meditation on unrequited yearning,"[15] as well as, "quiet, serene."[16] It was compared to Hawley's Coles Corner.[10]

In "Glass in the Park" Drowned In Sound noted the influence of Roy Orbison, Scott Walker, and Hawley.[9] Instrumentally, it has a "swoon-worthy" melody and "seductive fretboard slides,"[9] featuring "maybe a harmony or two."[10] Glass in the Park was one of the oldest songs in the EP, alongside "Hiding Tonight." Both were written before Ayoade approached Turner to do the soundtrack, he thought they wouldn't fit as part of his bands' sound, so he played them to Ayoade, who thought they would be a good choice for the film.[3] Lyrically, it recounts "a lazy afternoon between two young lovers, whispering impossibly grand promises to each other."[11]

"It's Hard to Get Around the Wind" is a folk track that has been described as a "Dylanesque puzzler,"[11] and compared to Simon and Garfunkel.[9] Turner's voice has a "humble charm,"[9] with the lyrics being "reproachful and flinty."[10] Instrumentally it features Turner "finger-picking"[16][10] on his acoustic guitar. "Stuck in the Puzzle" has "psych-pop flourishes."[11] Described as the "most musically straightforward track, with a fuller sound." Instrumentally, it "broadens the sonic palette with drums, piano and a shimmer of strings."[15] Lyrically it "carries itself like an early Lennon song," changing "post-Beatles angst" for "a late-night head-scratch about the state of things."[10] The final track, "Piledriver Waltz", is a baroque pop song featuring an orchestral arrangement by Owen Pallet. The track has been said to be "the most musically complex" of the record, with "two time signatures, no less."[10] Described as "woozily romantic" with "a mundane bent that avoids sentimentality," and the "finest and most direct song," despite, "the oddity of a change in signature for the gorgeous chorus,"[9] as well as, "the most reproachful."[10] Like the first two tracks, Piledriver Waltz was not written specifically for the film.[17]

Reception

[edit]

Critical

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.0/10[18]
Metacritic74/100[19]
Review scores
SourceRating
AllMusicStarStarStar[20]
BBC Music8/10[10]
Consequence of SoundC+[16]
Drowned In Sound8/10[9]
The IndependentStarStarStar[15]
Pitchfork7.6/10[11]
Uncut7/10[21]

Submarine received generally favourable reviews from critics,[19] and despite it stylistic deviation, was enjoyed by listeners.[8] At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received a score of 74, based on 9 reviews.[19]

Paul Thompson of Pitchfork felt "Turner's keen wit and eye for detail" had created a "tender portrayal" of adolescent uncertainty.[22] Ben Walsh of The Independent said the "exquisite" soundtrack was "reminiscent" of Cat Stevens's work on Harold and Maude.[23] For Drowned In Sound, Neil Ashman thought that similarly to his record with The Last Shadow Puppets, the "late Sixties and early Seventies" provided inspiration, nevertheless, "the mood of gentle wistfulness" was very different to the Puppets' "tactical bombast." He praised the songs' quality as being "on an upward trajectory from start to end."[9] Fraser McAlpine of BBC Music described the record as "five swoony songs, sung beautifully, no duffers, and plenty of knotty lyrics to try and unravel," he also praised Turner's voice and lyrics, adding, "anyone who can sell a line like "If you’re gonna try and walk on water make sure you wear your comfortable shoes" is someone who needs no puffing up."[10] When talking about the difference between this record and Turner's previous work, Alex Young of Consequence of Sound, said "perhaps surprisingly, his balladry is second to none," and that "it’d be easy to turn your nose at it, but this is as good as any work he’s done, however different it may be."[16]

In another The Independent review, Andy Gill noted the EP found Turner, "in appropriately reflective, wistful mood," but that, "the beguiling mood of abstracted adolescent self-importance" was a constant throughout.[15] Stephen Thomas Erlewine of AllMusic thought Turner was straddling "a fine line of providing hushed mood music for a film, and delving into someplace deeper," and that the casual nature of the songs kept them, "from truly resonating."[20]

Accolades and retrospective commentary

[edit]

In 2011, Submarine appeared at number 32 on NME's Best Albums of the Year list,[24] with Piledriver Waltz, being at 33 on the Best Tracks list.[25] In 2014, it appeared on The Times's list of 100 Soundtracks to Love.[26] Retrospectively, Submarine its considered a stepping stone in Turner's continued musical experimentation, inspiring the general sound of Turner's band Arctic Monkeys', fourth album Suck It and See, leading to the inclusion on the album of a re-recording of "Piledriver Waltz,"[3][4][17] and paving the way for Tranquility Base Hotel & Casino, (2018)[27][28] and The Car (2022).[21] The soundtrack has been described as "the most discussed" feature of its accompanying film, contributing to its lasting popularity.[8]

Track listing

[edit]

All lyrics are written by Alex Turner; all music is composed by Turner and James Ford.

No.TitleLength
1."Stuck on the Puzzle (Intro)"0:53
2."Hiding Tonight"3:06
3."Glass in the Park"3:59
4."It's Hard to Get Around the Wind"4:07
5."Stuck on the Puzzle"3:31
6."Piledriver Waltz"3:24
Total length:19:03

Charts

[edit]
Chart (2011) Peak
position
French Albums (SNEP)[29] 97
Irish Albums (IRMA)[30] 56
UK Albums Chart (Official Charts Company)[31] 35

Certifications and sales

[edit]
Region Certification Certified units/sales
United Kingdom (BPI)[32] Gold 100,000^

^ Shipments figures based on certification alone.

Personnel

[edit]

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Submarine (EP)

View on Grokipedia
from Grokipedia
Submarine is the debut (EP) by English , the frontman of the rock band , released on 14 March 2011 by . The six-track release features original songs composed specifically for the soundtrack of the 2010 coming-of-age comedy-drama film , directed by . The EP's tracks—"Stuck on the Puzzle (Intro)", "Hiding Tonight", "Glass in the Park", "It's Hard to Get Around the Wind", "Stuck on the Puzzle", and "Piledriver Waltz"—largely adopt a delicate, introspective style characterized by finger-picked , with occasional and strings, diverging from the energetic rock sound of Turner's band work. Notably, "Piledriver Waltz" was later re-recorded and included on ' 2011 album . The songs were recorded at One Inch Studios in , mixed at The Premises Studios, and strings were added at Air Studios. Upon release, Submarine received positive critical reception for its emotional depth and lyrical maturity, with reviewers praising Turner's shift toward a more subdued, folk-influenced sound that complemented the film's themes of and relationships. Retrospectively, the EP has been viewed as a pivotal early step in Turner's solo career, influencing the experimental directions in his subsequent projects, including ' later albums.

Development and Production

Background

The Submarine EP originated in 2009 when Alex Turner, frontman of Arctic Monkeys, began writing original songs during a break from the band's extensive touring schedule following the release of their album Humbug. While residing in New York City, Turner composed the material on acoustic guitar at his home, marking his inaugural foray into solo songwriting distinct from the band's established rock-oriented sound. This project emerged as a deliberate shift toward sparse, introspective acoustic pieces, providing a creative respite from the high-energy demands of Arctic Monkeys' performances. The EP's conception was closely tied to Richard Ayoade's debut Submarine (2010), an adaptation of Joe Dunthorne's 2008 novel of the same name, which follows the awkward coming-of-age experiences of a teenage boy in . Turner and Ayoade, who had previously collaborated on ' music videos and live projects, began discussions about the soundtrack in 2009, with Ayoade initially proposing cover versions before Turner offered his own compositions. The songs were tailored to evoke the film's melancholic and introspective atmosphere, drawing inspiration from early rushes and the novel's themes of adolescent confusion and emotional isolation, though not strictly synchronized to specific scenes. This alignment helped shape the EP's subdued, reflective quality, aligning it seamlessly with the narrative's exploration of youthful vulnerability.

Recording Process

The recording sessions for the Submarine EP took place in April 2010 at One Inch Studios in , with string sessions handled separately at Air Studios in the same city. James Ford, a longtime collaborator with from his work with , served as producer, guiding the project toward a sparse, intimate aesthetic that emphasized emotional directness over elaborate production. Ford's approach prioritized live, unedited takes to capture the raw vulnerability of Turner's solo performances, often with Turner handling vocals, guitar, and himself alongside Ford on additional instruments. This method minimized post-production layers, fostering an unpolished feel that aligned with Turner's intent for a personal, film-specific . Key collaborators included guitarist , who contributed to select tracks such as "Hiding Tonight," adding subtle electric textures without overpowering the acoustic core. For the closing track "Piledriver ," Owen provided string arrangements, recorded under engineer Jake Jackson to enhance its elements with orchestral warmth. The production focused on acoustic —including guitar, , and light percussion—with minimal overdubs to preserve the songs' emotional immediacy and structural simplicity. This restraint resulted in concise arrangements that fit the EP's total runtime of 19:03, allowing each track to breathe while maintaining narrative cohesion for the film's .

Musical Content

Style and Influences

The Submarine EP is characterized by an core, infused with elements of and , marking a departure from the energetic of Alex Turner's work with . Its sound is predominantly acoustic-driven, centered on fingerpicked guitar that provides an intimate, reflective foundation, complemented by subtle percussion, occasional organ drones, and strings in select arrangements, such as the orchestral swells arranged by on "Piledriver Waltz." This minimalist instrumentation evokes a sense of quiet introspection, with tracks like "Stuck on the Puzzle" incorporating psych-pop flourishes through hazy reverb and lilting melodies. Thematically, the EP delves into explorations of romance, , and depression, capturing the emotional turbulence of through poetic, introspective that align closely with the film's coming-of-age narrative. Songs such as "Hiding Tonight" reflect the contradictions of —balancing hopeful anticipation with underlying isolation—while overall, the work portrays personal and the ache of unrequited or fleeting connections. These themes are conveyed in a hyper-romantic yet grounded tone, using everyday observations to underscore emotional depth, as in the magpie-eyed realism of tracks that sway between and disillusionment. Key influences on the EP include Richard Hawley's melancholic guitar tone and stately balladry, which inform its spare, evocative beauty and fairground-like warmth, evident in the overall production's nod to Hawley's album Coles Corner. Bob Dylan's lyrical introspection and folk structures resonate in puzzle-like narratives such as "It's Hard to Get Around the Wind," where enigmatic phrasing mirrors Dylan's early . Additionally, the EP draws from John Lennon's post-Beatles solo vulnerability, particularly in its early '70s-style instrumentation and themes of personal revelation, as heard in the Lennon-esque delivery and echo effects on "Stuck on the Puzzle." As Turner's debut solo release, the EP represents his experimentation beyond ' raw , embracing a more vulnerable, acoustic template that stripped away band dynamics for solo introspection and foreshadowed his later solo endeavors, such as the orchestral sophistication of ' . This shift highlighted his versatility as a songwriter, prioritizing emotional nuance over high-energy riffs and establishing a blueprint for his future explorations in crooning balladry and narrative-driven composition.

Individual Songs

"Stuck on the Puzzle (Intro)" serves as a brief, atmospheric opener to the EP, lasting 53 seconds and consisting primarily of descending notes that establish a pensive tone reflective of teenage . This teaser introduces the titular track's melody in a stripped-back form, using the 's resonant simplicity to evoke introspection without vocals, setting an intimate mood that aligns with the film's exploration of youthful . The full version of "Stuck on the Puzzle" expands this intro into a three-minute folk ballad characterized by and a swooning , where Turner's vocals shift from subtle to a more narrative-driven delivery. Lyrically, it employs metaphors of emotional entrapment, as in lines like "I'm not the kind of fool who's gonna sit and sing to you about stars, girl," blending disdain with underlying sentimentality to capture the awkwardness of adolescent love. In the film, the song underscores scenes of clumsy seduction attempts, enhancing the portrayal of relational uncertainty through its psych-pop flourishes and keen wit. "Hiding Tonight" follows with a , waltz-like driven by mellow and minimal instrumentation, creating a that emphasizes emotional concealment through its gentle, swaying . The lyrics explore themes of heartbreak and youthful anxiety via surreal , such as "Tomorrow I'll be faster, I'll catch what I've been chasing after and have time to play / But I'm quite alright hiding today," using to depict delaying confrontation in relationships. Turner's whispered vocal intimacy here contrasts with fuller expressions elsewhere on the EP, heightening the song's tender optimism amid adolescent infatuation tensions in the film's . "Glass in the Park" features in a mid-tempo pop structure, evoking a tender and intimate atmosphere of lazy afternoon . Its motifs center on lazy afternoon , with impressionistic like "If there's glass in the park, darling I can't help but keep making appointments to sweep beneath the climbing frame," employing to symbolize overlooked dangers in budding romances. The track integrates into the film by amplifying intimate, romantic moments between young lovers, using wallflower observations to underscore themes of grand promises amid everyday settings. "It's Hard to Get Around the Wind" adopts a mid-tempo style with arpeggiated , incorporating inscrutable imagery to convey accepting fate in love and life. such as "It's like you're tryna get to Heaven in a hurry / And the queue was shorter than you thought it would be / And the doorman says, 'You need to get a '" fuse existential metaphors with the mundane, portraying obstacles as inevitable winds. In the soundtrack, it adds depth to coming-of-age struggles, with Turner's delivery balancing puzzling clarity and emotional inevitability without overpowering the film's subtle tensions. Closing the EP, "Piledriver Waltz" is an orchestral featuring strings recorded by the , evoking through its constant melodic motion and fuller arrangement. The lyrics weave an odd tale of heartbreak with comic undertones, as in "You look like you've been for breakfast at the / And sat in the back booth by the pamphlets and the literature on how to lose," using metaphors to blend resilience and loss in relationships. It appears in the film's , tying together reflective tones with its nostalgic prism and slightly impenetrable .

Release and Commercial Performance

Release Details

The Submarine EP was released on 14 March 2011 by in the . An international rollout followed, with the edition appearing on 31 May 2011. The EP was made available in multiple formats, including digital download, in a digipak sleeve, and a limited 10-inch vinyl pressing that included a digital download code. While primarily issued as a standalone release under Alex Turner's name, it served as the original soundtrack for Richard Ayoade's film , with the packaging and artwork directly inspired by the movie's promotional materials, featuring a resized version of the film's poster depicting lead actor . Domino marketed the project explicitly as Turner's debut solo EP to differentiate it from his work with , emphasizing its intimate, film-specific origins following recording sessions completed in 2010. Promotion centered on its to the film, with limited physical editions produced to coincide with the movie's theatrical release; although no official singles were issued from the EP, the track "Piledriver Waltz" received notable radio airplay in the UK upon launch.

Chart Performance and Sales

The Submarine EP achieved moderate commercial success upon its release, primarily driven by Alex Turner's established fanbase from and its tie-in to the film . It debuted at number 35 on the on March 20, 2011, and spent a total of four weeks in the top 200. In , the EP entered the French Albums Chart () at number 97 in its first week, holding the position for two weeks before exiting. The release did not chart on major US albums charts such as the , though it registered notable digital sales through platforms like , bolstered by its soundtrack integration.
Chart (2011)Peak PositionWeeks on Chart
UK Albums (OCC)354
French Albums (SNEP)972
Sales figures indicate the EP sold over 60,000 units in the by the mid-2010s, reflecting solid performance for a debut solo project in a niche style. Globally, estimates place total sales around 100,000 units by 2015, with the majority stemming from physical and digital formats in . The ' loyal audience and the film's limited theatrical release provided an initial sales boost, while digital availability on facilitated broader accessibility and contributed to a surge in downloads shortly after launch. In the long term, the EP has seen sustained interest through streaming platforms and physical reissues. As of February 2025, it continues to appear on the Soundtrack Albums Chart, where it has accumulated 255 weeks and reached a peak position of number 2, underscoring its enduring appeal. Vinyl reissues, including limited-edition pressings, have driven renewed physical sales into 2025, aligning with the broader resurgence in vinyl consumption for indie releases.

Reception and Legacy

Critical Response

Upon its release in March 2011, received generally positive reviews from critics, who praised Alex Turner's shift toward a more introspective and mature songwriting style. The EP holds a score of 74 out of 100, based on nine reviews, reflecting a consensus that highlighted the sophistication and emotional nuance in Turner's solo work. Several publications commended the EP's intimate, folk-leaning arrangements and their departure from the energetic rock of . awarded it 8 out of 10, lauding the "stripped-down, mainly acoustic" sound as Turner's "real age of understatement," with song quality building effectively across the tracks. musicOMH gave it 80 out of 100, describing it as the "real Turner emerging to the surface" and a "depth charge to the age of the lazy movie soundtrack," emphasizing its evocative fit for the film's themes. scored it 7.6 out of 10, noting the "sophisticated, admirably restrained music" that captures adolescent uncertainty with keen wit and emotional depth, particularly in tracks like "Hiding Tonight" and "Glass in the Park." The rated it 7 out of 10, appreciating the "five swoony songs, sung beautifully" with "knotty to try and unravel," though acknowledging their wistful, reflective mood. Critics often compared the EP's effectiveness as a accompaniment to classic soundtracks, valuing how Turner's impressionistic and enhanced the movie's coming-of-age narrative without overpowering it. Minor criticisms focused on the EP's brevity and subdued energy, with some reviewers finding it insubstantial compared to Turner's band output. gave it 3.5 out of 5, calling it "charming enough" but "a little insubstantial," suggesting the acoustic focus lacked the drive of prior material. Consequence of Sound assigned 70 out of 100, viewing it as a "fine piece of work" but one that prioritized elegance over intensity. A 2021 retrospective piece in echoed these 2011 sentiments by affirming the EP's role in showcasing Turner's evolving artistry.

Accolades and Retrospective Views

Upon its release, the Submarine EP earned recognition in several year-end and genre-specific lists, including placement at number 32 on NME's 50 Best Albums of 2011. It was also featured in The Times' 2014 compilation "100 Soundtracks to Love," praised for its emotive sound and lyricism. The EP received no nominations for major awards such as the Grammy Awards or the Mercury Prize. Among fan communities, it has consistently ranked highly in user-driven aggregations, achieving an 81 user score on Album of the Year and a 3.72 out of 5 rating on Rate Your Music, where it places as the 11th-best soundtrack overall. In retrospective analyses, the EP has been credited with marking a significant evolution in Alex Turner's songwriting, showcasing his lyrical inventiveness and serving as a bridge to his more mature solo and collaborative work. A 2021 NME feature marking the film's 10th anniversary highlighted its timeless quality and role in elevating Turner's profile beyond , with composer noting, "There seems to be no limit to his lyrical inventiveness… impossible to overpraise him." The EP's introspective style has been viewed in 2020s commentary as contributing to broader discussions of maturation, with reviewers drawing parallels to Turner's later projects, including the lush, orchestral arrangements on ' 2016 album , which shares more stylistic commonalities with than the duo's 2008 debut. Its influence extends to , prefiguring the more subdued, narrative-driven elements in their 2013 album AM. The EP's cultural impact endures through its status as a , with the soundtrack amassing over 192 million streams on by 2021 and maintaining steady appeal in the streaming era, even without significant promotional updates after 2023. Songs from the EP have appeared in various media contexts, reinforcing its nostalgic resonance for coming-of-age themes, while the film's global fanbase—from Taiwan to —has sustained its legacy through word-of-mouth and online communities. Over time, perceptions of the EP have shifted from its initial framing as a mere tied to the film to a pivotal entry in Turner's discography, underscoring his versatility and depth as a standalone artist. This evolution mirrors its initial score of 74, which has grown in appreciation for its intimate, acoustic-driven compositions.

Credits

Track Listing

The Submarine EP features six original tracks written by . The total runtime is 19:04.
No.TitleLength
1."Stuck on the Puzzle (Intro)"0:54
2."Hiding Tonight"3:07
3."Glass in the Park"4:00
4."It's Hard to Get Around the Wind"4:07
5."Stuck on the Puzzle"3:31
6."Piledriver Waltz"3:25
The 10-inch vinyl edition divides the tracks between sides, with tracks 1–3 on Side A and tracks 4–6 on Side B. No major alternate editions were released, though digital formats maintain the standard track order and mixes from the film's soundtrack.

Personnel

The Submarine EP credits as the primary artist, performing vocals across all tracks, guitar on all tracks, and on select tracks. Songwriting is attributed solely to Turner for the entire release, with no co-writers listed. James Ford served as the sole producer and mixer, also contributing drums on select tracks; there were no co-productions. provided additional guitar on "Hiding Tonight" and "It's Hard to Get Around the Wind." Owen Pallett arranged the strings for "Piledriver Waltz," conducted by Andrew Hewitt, with The Composers Ensemble performing the strings; there were no guest vocalists featured. Studio engineers included Jake Jackson for string recording.

References

  1. https://www.dominomusic.com/artists/alex-turner
  2. https://www.nme.com/news/music/arctic-monkeys-306-1303436
  3. https://www.discogs.com/release/4542489-Alex-Turner-Submarine
  4. https://www.bbc.co.uk/music/reviews/v6cg/
  5. https://www.nme.com/features/alex-turner-submarine-soundtrack-anniversary-tranquility-base-hotel-casino-2898612
  6. https://www.the-independent.com/arts-entertainment/films/features/periscope-up-richard-ayoade-and-alex-turner-unite-their-talents-in-hot-new-brit-flick-submarine-2243847.html
  7. https://www.nytimes.com/2011/06/03/movies/submarine-with-craig-roberts-review.html
  8. https://www.soundonsound.com/people/james-ford-producing-arctic-monkeys
  9. https://www.discogs.com/release/8750122-Alex-Turner-Submarine
  10. https://drownedinsound.com/releases/16039
  11. https://www.discogs.com/master/320427-Alex-Turner-Submarine
  12. https://musicbrainz.org/release/9a976341-f294-4012-87ce-5f4f5e7d3a2b
  13. https://consequence.net/2011/04/album-review-alex-turner-submarine-ep/
  14. https://music.apple.com/us/album/submarine-ep/422325910
  15. https://pitchfork.com/reviews/albums/15224-submarine-ost/
  16. https://musicbrainz.org/release-group/724f9cf9-b495-49b7-a728-c6fef6ef635f
  17. https://www.dominomusic.com/releases/alex-turner/submarine-original-songs-from-the-film-by-alex-turner/10-single
  18. https://pitchfork.com/news/41475-arctic-monkeys-frontman-alex-turner-releases-solo-submarine-film-soundtrack-music/
  19. https://www.brooklynvegan.com/arctic-monkeys-34/
  20. https://www.metacritic.com/music/submarine-original-songs-from-the-motion-picture/alex-turner
  21. http://drownedinsound.com/releases/16039/reviews/4142267
  22. https://www.sputnikmusic.com/review/42548/Alex-Turner-Submarine-OST/
  23. https://genius.com/albums/Alex-turner/Submarine-ep
  24. https://rateyourmusic.com/release/ep/alex-turner/submarine/
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