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Arctic Monkeys
There are two things the British know: beer and Rock N' Roll. Both are imports yet the British treat each as their own creation. It makes sense. Pubs are a integral part of English life. Nobody goes to a pub for the food - or shouldn't. It's generally horrid. So the beer had better be superior. And it is. Rock is no less ingrained in the British experience. Ever since The Beatles conquered the world over four decades ago, the British music industry has endeavored to keep the pipeline full. It's probably the only place on earth where parents accept Rock music as a viable career path for their offspring - especially the ones who have bad attitudes and are no good in school.
When the U.K. music industry discovers a popular sound/group, they are able to produce countless clones almost at will. That's when the big British hype machine comes to life. A clunky, loud thing, it more resembles the "man behind the curtain" (as in the Wizard of Oz) than any real magic. But people get sucked in just the same. The idea is to get the Americans, and by extension the rest of the world, to buy and buy more since tax revenues from music sales are about the only thing that keeps the island afloat.
So news of the Arctic Monkeys' (c'mon, seriously?) U.K. success initially had to be viewed skeptically. They were yet another band who wore their Jam, Clash and Smiths influences on their sleeve. Toss in the White Stripes, Vines, Libertines and a scruffier take on Franz Ferdinand for mainstream accessibility. Yet even for the U.K., it looked as though the Arctic Monkeys were the real deal.
The Arctic Monkeys formed in '03. Sheffield lads Alex Turner and Jamie Cook had received guitars the previous Christmas. Soon the two were practicing together, learning songs and starting a group. A year later, they landed a deal with Domino, the same label that gave the world another over-hyped wonder, Franz Ferdinand. Hey, if you got a good thing, keep it going.
Their debut single, "I Bet You Look Good On The Dancefloor," debuted at #1 on the singles chart. Impressive? OK, while that almost never happens in the U.S., debuting at the top, even for new group, does occur in the U.K. - at least once or twice a year - or so it seems. Then came the '06 release of their album "Whatever People Say I Am, That's What I'm Not." This is where it gets interesting. Having a hit single is no big deal but transferring that success to an album is a different story. Within days of its release the CD sold nearly 120,000 copies in the U.K., which was more than the rest of the Top 20 album chart combined.
Due to "fatigue following an intensive period of touring" Andy Nicholson left in '06. The news was later "officially" confirmed on the band's web site. "We are sad to tell everyone that Andy is no longer with the band." Another Sheffield musician, Nick O'Malley, joined as a temporary replacement for touring before signing on as a full-time member.
"Whatever People Say I Am, That's What I'm Not" won the '06 Mercury Prize (or Nationwide Mercury Prize) for the best British or Irish album of the previous 12 months. The following year they nailed Best British Group at the BRIT Awards (British Recording Industry Trust).
Arctic Monkeys unfurled "Favourite Worst Nightmare," with the single, "Brianstorm," in April, '07. The album demonstrated a little wider aperture.
Work on the group's third album, "Humbug," began in January, '08. The set was produced by Queens Of The Stone Age's John Homme (in Rancho De La Luna) and James Ford (in New York). 24 songs were distilled to the dozen that made the album.
The set's first single, "Crying Lightning," made its debut at #12 on the U.K. Top 40 but did much better on the UK Top 40 Indie Chart (#1). And just to keep from being regarded solely as a U.K. phenomena Arctic Monkeys played Lollapalooza '09 in Chicago.
A worldwide tour followed the release of "Humbug." Then the Arctic Monkeys holed up at Sound City Studios in L.A. to lay down tracks for their '11 release "Suck It And See." "Don't Sit Down 'Cause I've Moved Your Chair" was the lead single.
Albums:
2006 Whatever People Say I Am, That's What I'm Not
2007 Favourite Worst Nightmare
2009 Humbug
2010 Suck It And See
The music industry is littered with bands that found instant success and little else. There can be a stunning and permanent reaction if there's the perception success arrived too easily or was unwarranted. "Whatever People Say I Am, That's What I'm Not" out runs any potential backlash. Arctic Monkeys have a lean, hook filled approach. It's nothing that hasn't been done before but they bring a lot of energy and drive to the proceedings. The verses keep moving while the choruses push hard.
The hit, "I Bet You Look Good On The Dancefloor," is potent though it promulgates superficial lyrics ("I bet you look good on the dancefloor, don't know what you're looking for"). Not that it matters all that much. The song has an irresistible appeal. There are several outstanding tracks including "Fake Tales Of San Francisco," "You Probably Couldn't See The Lights But You Were Looking Straight At Me" and "When The Sun Goes Down." For a change of pace, they throw in the Ska flavored "A Certain Smile" and the tongue-in-cheek ballad "Riot Van."
The Arctic Monkeys ability to "jump" on songs is one of their strongest traits. Even when they try to be serious they still have a good natured appeal (they are named the Arctic Monkeys after all). In addition, the songs on "Favourite Worst Nightmare" have a dramatic riff here or a clever vocal inflection there to give a track an extra pull. That's particularly true on the set's opener, "Brianstorm," with its jerky rhythm and texture variations. But they don't rely on gimmicks all the time. In fact, some of best tracks on the album "The Bad Thing" and "Teddy Picker," are no nonsense uptempo shots.
"Humbug" could almost be called the Arctic Monkeys' "mature" album. The twanging '60s style guitar is still there, as is the band's rambunctious recklessness - only far less apparent. They can, at times, sound like a pre-psychedelic era band that is trying to incorporate the new "hip" sounds. Case in point, the single "Crying Lightning" is all dark and spooky and could have easily fit on a Jim Morrison solo album (had he made one).
Much of the album focuses on "day in the life" observations with some catchy turns like spelling out 'dangerous" (but dropping the 'e') in "Dangerous Animals" or giving "Secret Door" some swagger. The latter has an organ underpinning as Turner sings "made it clear, there's absolutely nothing for us here." That's actually not the case. "Pretty Visitors," a punchy track with a twist on the "chicken or the egg" question, "Potion Approaching" with its uptempo herky-jerky rhythm and the ballad "Cornerstone" put the album across.
The dilemma facing the Arctic Monkeys, now four albums into their career, is a conundrum. Without the tempo changes, rhythmic syncopation and quirky twists, they are just another band with a jangling guitar.
Should they continue to foster their creative impulses or go mainstream? "Suck It And See" splits the difference.
The title track, "Brick By Brick" and "Don't Sit Down 'Cause I Moved The Chair" are played straight, reflecting the group's Punk leanings. "She's Thunderstorms" and "Piledriver Waltz" bring all the heady embellishments that the Arctic Monkeys are known for.