Arctic Monkeys – Humbug

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It’s amazing how you can both capture a sound perfectly and have no idea what to do with it. The problem with Humbug isn’t that it’s a departure. They didn’t sounded too excited about the Dance-Punk sound in the previous album anyway. The problem isn’t necessarily the lack of hooks because plenty of records can survive without hooks.

The problem is they’re playing a form of psychedelia that relies on melodies. Psychedelic music is often melodic and accessible. It uses weird sounds along with an easy melody to make something both weird and accessible. That’s why “Tomorrow Never Knows” is so popular (or at least covers of it).

This is not the Heavy Psych that blasts off to outer space. It’s closer to “Planet Caravan” and Monster Magnet’s ballads. These songs were brilliant because their sound enchanted already great melodies. “Planet Caravan” would’ve been nothing if the melody wasn’t sound so close to the lonely Bluegrass style.

“Crying Lightning” is the best song here for that reason. It’s one of the few here that actually has a chorus. The fact that it progresses and reaches a conclusion is just a bonus. It has a catchy melody that benefits from the sound. Turner drops words like ‘twisted and deranged’ which are perfect for this music.

Everything else, however, tries too hard to be ominious. The band is obsessed with beeing spooky. Turner stopped being a sex-mad smug asshole. Maybe it has something to do with erectile dysfunction. On “My Propeller”, he lets us know in the climatic bridge that he can’t get hard. Such issues affect a man, especially one who bragged about having sex with girls he doesn’t like.

That song sums up the album well. It has no chorus. The chorus has Turner whispering “have a spin of my propeller” not in a sexy manner. It’s as if he’s standing behind your back in a haunted house. It sounds pathetic because it’s such an obvious technique to make you look scary.

Or maybe it’s actually about drugs. That’s a better explanation of the rest of the songs. They sound druggy in a good way. The guitar licks and rolling drums in that sound like a calm before the storm. They can’t keep the atmosphere for long. It’s not even good enough for the song which saved by its catchy climax.

There are other tricks, many of them impressive and none of them are enough. “Pretty Visitors” has tempos shifts and thudding drums that are coming after you. The sound effects in “Secret Door” are supposed to fit the title, but too bad the melody is uninspired. Turner doesn’t even sound like he’s singing an actual melody but just mumbles things.

The sound fails mainly because it doesn’t serve the songs. The end of “My Propeller” and “Crying Lightning” would sound much worse in any other sound. Instead of sounding seductive, Turner sounds like a desperate and perhaps dangerous addict on the latter song.

On all the other songs, it just makes for a ‘huh, that’s cool’ reaction. They sound like demos, ideas that are worth attempting but are so new to the band that they’re only worthwhile for a B-Side compilation. The lack of confidence isn’t just because the band moved from the loud Dance-Punk. It’s because they have no idea what to do with the sound, even if it sounds cool.

Smack in the middle of this album you get the gorgeous “Cornerstone”. It’s a ballad that’s closer to “505”. The band has a fuzzy relationship with ballads. Turner is too arrogant to get them right but when they get it, they made brilliant ones. “Cornerstone” is one of those. It’s sad that this song got buried here. “Crying Lightning” at least makes everything around it worth attempting. “Cornerstone” should’ve been on the better next album.

It’s an interesting album and a stepping stone for the band. Their later albums proved they still got it in them and they were just confused. I’m sure this sounded worse when it came out. Albums like these are either a death sentence or a stepping stone to a new era. The Monkeys haven’t outdone their debut (and probably never will), but this sounds much better in retrospect, when you know they got over this confusion.

2.5 cornerstones out of 5

Arctic Monkeys – Favourite Worst Nightmare

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This album doesn’t make a lot of sense. The debut was explosive. Arctic Monkeys didn’t sound like they wanted to be the biggest band in the world, but they sounded like they were really into the Dance-Punk thing. The band sounded so energetic it’s like they couldn’t notice they forgot to write a song in “From the Ritz to the Rubble”.

Although the album opens with an explosive track that does sound stormy, the album doesn’t have the spark of the debut. Instead of honing their craft, they’re just going through the motions and kicking danceable Indie Rock. There’s talent and hooks, but the lack of spirit makes it hard to react to this strongly.

The main difference between this album and the debut is that this one has no concept. Whatever knew it was a Dance-Punk album and had lyrics that described that party environment with humor and wit. Favourite Worst Nightmare is a fun collection of songs that are great when they’re closer to their debut and weaker when they move further way. There’s also a fantastic ballad thrown in.

The band sounds lost on the more melodic/casual tracks like “If You Were There” or “Balaclava”. They were at their best when making sonic mayhem. On these tracks they’re turning it down but not replacing the noise with anything. There’s not much going in these tracks. On “Balaclava” Turner becomes annoying, speaking in a smug way rather than singing. Even “Flourscent Adolescent” doesn’t work. There is melodic beauty buried somewhere behind the vocals, but Turner refuses to commit to one style. He doesn’t decide whether to rap, sing or sing-rap like Astronautalis. The result is a Pop song without a melody.

Even the harder tracks feel like something is missing. The instrumental storm of “Brianstorm” doesn’t sound like the beginning of a party. It’s more artistic, trying to capture the song’s title rather than to start a mosh pit. It’s still effective though. Other tracks have some explosive hooks – “D Is for Dangerous”, “This House is a Circus” and “The Bad Thing” are all rocking. Something in the production does feel flat, nothing in these tracks compares to the mayhem of “Fake Tales” or “I Bet You Look Good”.

I can’t tell whether it’s the production or the band itself. The melodies work in the same way. There’s no change in focus. It’s still sharp, aggressive melodies with noise behind them. “D is for Dangerous” is their most danceable song, actually. Perhaps it’s the production, which is cleaner, more pleasant. It works in some tracks, but it makes these ones sound less party-ready.

There are two odd successes here. “Only Ones Who Know” is a beautiful ballad. It’s different from “Riot Van”. That one still had the lyrics about wild life of the night. The musical backdrop was different but it stuck to the concept. “Only Ones Who Know” is truly tender, with Turner doesn’t even sound like he’s putting on an act. There are whole bands basing a career on making such songs. If only Adele or Coldplay knew that great ballads work because they don’t try to attract attention. That song never explodes and always remains quiet. If it did, it’d undo its beauty.

The ambitious “Do Me a Favour”. It’s the most ambitious track here, building towards a conclusion and letting every band member contribute. “505” also does the build-up thing, but it’s a familiar end-of-album ballad that’s too ordinary to get a reaction. “Do Me a Favour” sounds like a deliberate attempt to write a great break-up song and it’s a success. The drums create tension all the way it explodes with telling someone to fuck off.

At its heart, this is just an ordinary Indie Rock album. If it was released by any band it probably wouldn’t gain any hype. It’s pretty consistent, has some great songs for a playlist but that’s it. That said, it’s a terrible album to listen to for your first album by the band. Since all they do is just kick songs, it might leave you confused on what the big deal is. Actually, that’s all they ever did – just kick catchy Pop Rock with a charismatic singer. You don’t need more than that to become popular.

3 nightmares out of 5

Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not

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It’s amazing what cultural differences can do. This was apparently a pretty big deal in the UK. It had something to do with how Pop music dominated the charts, or that it gave a voice to macho dudes who only want to pick up girls in the club (but liked guitars), or that they gained their success via word of mouth. I’m here, listening to it 9 years after it came out. I can tell it’s big, but not really why.

It sounds like it has a mission statement, but what it states is different than everything I heard. You can’t rely on historical context for too long. Eventually there will be a generation who never heard those Pop bands you knocked off the charts. They might even like them. They will care more whether the files they got from iTunes are worth doing air-guitar to or singing along to.

The album is a Dance-Rock album. It’s not about creativity or delivering a message or being weird. It tries to do the same thing Glam Metal, later Nickelback albums and Dance-Punk artists like !!! and Test Icicles do. It wants to throw a party with guitars.

The lyrics are more sophisticated than your average Glam Metal track. They swing from trying too hard to sharp. “Fake Tales” is fantastic. It’s a great attack on people who go on and on how cool other countries are. The irony is, in Israel you can switch “San Fransico” with “London”. This just shows how the message is more than just for the locals.

“You Probably Couldn’t See” is another bomb. Turner makes fun of the guys and how they all change their behavior with hopes of impressing a woman. It describes word-for-word every social situation I’ve seen where there was an attractive female there. Even the guys who claimed they’re not into it were influenced. It’s the best song the album.

While these songs give the impression that the band is a vehicle for Turner’s lyrics, it’s not. They’re just seasoning that makes these songs better, but what drives them are guitar riffs, hooks and hard drums.

Turner is a great vocalist. While he can come off as too smug (Especially on “Still Take You Home” where he’s your typical douchebag who has sex with girls he dislikes) he also easily captures an air of coolness. He sounds both smart and hedonistic, like a person who can have fun at a rock club and later make articulate arguments about the last book he read.

He never drowns out the band. In fact, they often threat to drown him. The playing is so energetic and full of life. “I Bet You Look Good” opens with what sound like Metalcore riffs. The band sounds like it’s dying to slam. On “When the Sun Goes Down” it sounds like Turner is trying to keep up.

What makes the band so good is that they know what they’re doing. This is party rock. It exists to be catchy, energetic, to slam and to sing along to. That’s why the moshpit-friendly sections in “I Bet You Look Good” don’t feel too out of place. It’s impressive how the album never runs out of steam. The last two tracks are slightly weaker, but almost everything before it sticks to the concept and never lets up.

There are a few cuts that try to tone down the noise. Only “Riot Van” succeeds, and it’s a surprising one. It only has Turner and some guitar strumming in the back, but it’s beautiful. It comes right in the middle, the right time for a small break. This is the tracks that they will draw inspiration from in their second breakthrough.

Ignore all the people who talk about what it was like when it first came out. This album still sounds great now. It’s a party rock album where the riffs are energetic, the hooks are catchy and everyone sounds like they’re really into it. It even has some cool lyrics that prevent it from sounding moronic but rarely too smug. It’s everything a party rock album should be.

3.5 fake tales of san francisco out of 5