The Car

Arctic Monkeys exploded upon the music scene in 2006 with Whatever People Say I Am, That’s What I’m Not. Quickly achieving record numbers in sales and hailed by the press as one of the greatest rock bands ever. I remember that first album filled with fast-paced, energetic short tracks – the same intense eruptive energy as when The Ramones burst upon the scene. Whatever… was a progressive (but not Prog) rock album with punk elements that perfectly fit when it was released. 

The Car is a huge departure from the early days. You will be sorely disappointed if you are looking for more of the same good ol’ fast-paced alternative rock from The Car.

Imagine a once glorious, faded beach hotel. Inside is a peeling fake-gold past-its-prime small venue, filled with retiree couples eating. A small band with old has-beens performs on the stage, wearing gold suits and trying – and mostly failing – to wake up the disinterested retirees. The gold-clad band performs sentimental romantic tracks in classic Frank Sinatra/Nelson Riddle style.

Faded hotel

Arctic Monkeys are a gifted band and by no means past their prime. But the image of a lounge band in a faded hotel is one of the images the album calls forth for me. Or some of Elvis’ last concerts in Vegas when he performs sentimental ballads instead of Rock n’ Roll. 

The Car is filled with sugar-sweet sentimental string sections, soft keyboards, and lead singer/songwriter Alex Turner crooning on every track. A few rare glam-style guitars burst onto the tracks, like on Big Ideas. Their fast-paced, guitar-packed tracks of the past are nowhere in sight. But more importantly, any Rock n’ Roll element seems to have been deliberately removed from The Car. The lyrics recall images of a faded travelling cabaret act. Images of backstage pre-concert recollections mixed with childhood memories. Lead singer Alex seems to have chosen – on purpose – to parody old-fashioned crooning lounge music with the frequent string sections and his over-the-top crooning and soft background keyboards.

‘There’d Better be a Mirrorball’ starts us off. The title sets the mood for the album. A spinning disco ball. I’d like this track were it not for the annoying soft rolling keyboards in the background. ‘Big Ideas’ is another track with lyrics and soft romantic music that feels like a disillusioned past-his-prime superstar. 

Plucky guitar

‘Mr. Schultz’ is my favourite track, with its plucky acoustic guitar, cool drums, and less crooning from Alex. Lyrically the track seems to recall past backstage memories. ‘Perfect Sense ‘is also enjoyable, although I strongly dislike the super-sweet string sections on this and most of the tracks.

Some tracks could have been great with fewer string sections and soft organs and with some evolving forward momentum instead. The Arctic Monkeys seem to deliberately reign in their thunderbolt musical energy on all the tracks. Where normally less is more for the Arctic Monkeys, on The Car they seem to opt for way too much fluff.

I applaud the Arctic Monkeys for their courageous departure from their early sound and albums into new unknown territory. And in their defence, they have never feared a change in direction. However, The Car sees them move ever further from their post-punk roots and even from the psychedelic lounge pop of their previous Tranquillity Base Hotel & Casino album into a baroque, art-rock presentation that is a radically different direction to their earlier work. 

I wanted to like this album. And while I like a few sporadic elements and sections, overall, I remain confused about why they made this album in this fashion. The songs are too similar in mood and style and lack direction, punch and grounding. 

I remain a fan of the Arctic Monkeys, and for hardcore fans, The Car will be interesting to see this new direction. But if you expect good ol’ rock ‘n’ roll – or good ol’ Monkeys – you will be disappointed.

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