No, “Tranquility Base Hotel & Casino” (2018) was not a one-off. Any hope of an early 2000s, “AM”-type Arctic Monkeys must be fully dissolved by this point: There’s no turning back. Say goodbye to their punk-infused indie rock and embrace something new — an ultra-hip-jazz-fusion-lounge rock that throws yet another curveball at their listeners.
Courtesy of Domino Recording Company.
“The Car,” released via Domino Recording Company Oct. 21, doubles down on their increasingly eccentric and bold new sound. Right out of the gate, it has garnered praise for its lavish and tasteful production and picturesque imagery. Producer James Ford, the Arctic Monkeys’ frequent musical collaborator, also brought many of the band’s ideas to fruition in the studio. The addition of strings, as well as apparent influence from bossa nova, funk, to even vintage film soundtracks, has resonated with most, but not all, musical critics.
Arctic Monkeys, Sheffield’s very own global superstar rock band, have maintained a level of relevancy and success that almost none of their peers have achieved. With six dizzying No. 1 studio albums in the U.K., a certified four time platinum album, “AM” (2013) and the spot as 50th most listened to artist on Spotify, the band has proved that rock ‘n’ roll is a commercially viable genre in the 21st century.
Despite being lumped into the garage-rock revival of the early 2000s, Arctic Monkeys have certainly been no stranger to experimentation. If their international breakthrough “AM” was their introduction to those outside of England, then their follow-up record “Tranquility Hotel Base & Casino” (2018) was a reminder that they conform to no one and play by their own rules.
“The Car” continues to build off of the subtle complexities of its predecessor. “There’d Better Be A Mirrorball,” “Body Paint” and “I Ain’t Quite Where I Think I Am” were released ahead of the full album’s debut and gave fans a preview of the lavishness that frontman Alex Turner would sing about on their forthcoming record.
Monkeys’ newest LP is refreshing, lavish and, at times, stubbornly obtuse. The record is marked by delicate string arrangements, tasteful bongos and light percussion, groovy electric clavinets and a general nostalgic flair harkening back to the early ’70s. “The Car” moves with cinematic clarity and vivid imagery.
It proved to be sonically more inviting than its predecessor, but lyrically it is much more opaque and reserved. Lead vocalist, Turner, oscillated from reflecting on his maturity on “I Ain’t Quite Where I Think I Am” to lint rolling his “velveteen suits” on the penultimate track. The drums, guitar and bass are accessories for Turner’s larger narrative, especially given his sole writing credits on every song.
It would be misleading to say that all of the lyrics are all pure gibberish. Turner sings about wanting to woo one’s mother on “Sculptures of Anything Goes,” and about travel-sized champagne cork pops on the title track. He might even allude to his increasing dominance over the band, when he sings in classic falsetto, “I had big ideas, the band were so excited,” on the aptly titled track, “Big Ideas.” He even comedically relates how he could pass for being seventeen, had he just shaved and caught some more sleep on “Hello You.” More often than not, the content of Turner’s lyrics is very much still up for debate.
For example, on the sweeping “Body Paint,” he has a back-and-forth with someone close to him — perhaps a lover, an ex or a music executive. The content of this disagreement is nonlinear and hard to follow. He dismissively tells them, “So predictable, I know what you’re thinking.” What the disagreement is and among whom is beside the point. He often invites listeners into what verges on inside joke territory, though we do not get to know the punchline. But that just might be part of the charm.
Skeptics might point to the myriad of abstract lyrics on the LP and dismiss it as pure laziness. But the four English natives are not the same young boys from 2005, and they certainly will never return to the lyrical directness of their international breakthrough “AM.” As the band ventures into their second decade together, it is no wonder that they have taken on an increasingly meditative and, at times, mysterious, public presence. After all, a band nearing their forties has already reached the apex of arena rock, the highs and lows of fame and the trials and tribulations of changing one’s sound and public image. Let the Monkeys take you along for the ride because, even if they are not quite sure where they are taking you, the ride is surely full of memorable stops along the way.
Ari Segal (he/him/his) (25C) is from Boca Raton, Florida, and majoring in Philosophy, Politics and Law (PPL). He is the Arts and Entertainment Editor at the Wheel. Outside of the Wheel, he is involved with the Emory Law School, Emory Conversation Project and the SPARK Mentorship Program. If you run into Ari, he is probably talking about music, listening to music or playing music on the guitar.
