Arctic Monkeys are back, but which way have they gone? Last album ‘Humbug’ lost them some of their well-earned fans; the dry, desert rock influenced by Queens of the Stone Age distanced them from the indie tales of dirty nights out in Sheffield. So is the return of the cheeky, awkward Alex Turner of ‘Fake Tales of San Fransisco’ and ‘Still Take You Home’? Or is it a further descent into the mystery and distance of ‘Dance Little Liar’ and ‘Potion Approaching’? Luckily, it’s a little more like the former than the latter.
New album ‘Suck It And See’ is an audible sigh of relief; the sun has risen again on Turner and Co., and they’ve let a bit of light-heartedness seep back into the music. In a high-class twelve songs and forty minutes, Arctics are arguably at their brightest and most melodic, while Turner’s lyrical tumble into Lennon-esque nonsense shows no signs of slowing up just yet. Not that it’s a bad thing.
Opener ‘She’s Thunderstorms’ immediately sets the lighter feeling, a free and jangling performance of the highest order and a sweet melody that leaves the rest of the album to just smoothly run through. ‘Black Treacle’ in its bouncing happiness, ‘Reckless Serenade’ in its soft and almost soppiness and title track ‘Suck It And See’ in its soothing tunefulness all optimise the sunnier outlook. ‘The Hellcat Spangled Shalalala’ is the best of these; as the title suggests, lots of ‘shalalala’s’ within, lots of swagger and is a simple anthem unseen from the four piece since ‘Flourescent Adolescent’.
There’s also opportunity for the band to let their collective hairs down a bit. First taste ‘Brick By Brick’ lifts the record with its sheer spontaneity, and the moody rock ridiculous-ness of ‘Don’t Sit Down ‘Cos I’ve Moved Your Chair’ is the sign of a band looking at the glass-half-full again. They may not have totally abandoned the darker stylings of their previous album (Humbug producer Josh Homme even ghosts in on the harder ‘All My Own Stunts’), but there’s a far more instant affect from this album.
‘Library Pictures’ is the perfect example and the best track on show; fractious, fast-paced, ever-changing and hooking from first listen. Matt Helders, on reserve for most songs, is finally released and only Alex Turner can pull off ‘Give me an eeney, meenie, miney mo/Or an ip dip dog shit rock ‘n’ roll’. ‘Piledriver Waltz’, in its slow dance daze, is another fine example of his now-formidable lyrical prowess.
If there’s one weak link, it’s the brilliantly titled ‘Love Is A Lazerquest’, which despite a dynamic title is static and the only track that slides by without an impact. But, it doesn’t matter, Arctic Monkeys have rediscovered the good side of life and where ‘Certain Romance’ saw them stroll off cheekily into the night on their debut album, ‘That’s Where You’re Wrong’ sees them drive off triumphantly into the sunset.
Humbug was unfairly criticised, but this new effort reminds of how effective Arctic Monkeys now are as a rock group. Effortlessly magnificent musically, lyrically inventive and catchier, Alex Turner may not write about dancing shoes and girls in green dresses anymore but he and his band don’t half know how to make an infectious album, although it’s better on fifth listen than on first. But don’t just take my word for it. Suck it and see.
Great effort from the lads, and here's my favourite track 'Library Pictures', live on Jools Holland no less. Enjoy :)
NWR
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