When Arctic Monkeys released their sixth studio album, Tranquility Base Hotel & Casino, in 2018, it was viewed as a dramatic left turn for the British band primarily known for their guitar-charged indie rock and the distinct lyrics of frontman Alex Turner. For that record, the British quartet incorporated ornate psychedelic and lounge-pop influences that leaned toward Burt Bacharach and the Beach Boys, with the piano becoming more prominent than the guitar. Yet, those noticeable shifts didn't appear to alienate the band's diehard fans when Tranquility Base Hotel & Casino became the band's sixth consecutive number one album in the U.K.
After that stylistic detour, fans might have expected Arctic Monkeys—Turner, drummer Matt Helders, bassist Nick O'Malley and guitarist Jamie Cook—to return to the earlier brash rock for their next album. But the band from Sheffield remains determined to evolve and defy expectations, as indicated by The Car, released October 21 via Domino Records. It's a continuation of the trippy and elegant after-hours vibe mined on Tranquility Base, although the music—featuring strings and horns this time—sounds more loose, atmospheric and expansive.
"I think there's this idea of when starting a new record [is the] 'we're-not-gonna-make-it-anything-like-the-last-one,'" the pensive Turner tells Newsweek. "But what I realize more often than not is they all seem to bleed into each other. It's only now when I've got this one under the microscope, I realized how much of that is true. I was probably trying to get away from things we've done on that last record. But I think there's still some of that kind of hanging over here into [The Car], but hopefully not to the extent where it isn't also reaching some new places that we haven't been before as well."
A listen to The Car (produced by longtime collaborator James Ford) immediately draws comparisons to the music of such artists as David Bowie (somewhere between his Young Americans and Station to Station albums), Serge Gainsbourg, Nick Cave and Scott Walker as well as '70s R&B and glam—and yet it still sounds like Arctic Monkeys. "I find it a bit more difficult than I have in the past to draw a line between records of other artists and this thing," Turner says. "I could probably pencil in a few. Perhaps the things I've sort of absorbed for a relatively long period of time now just influenced the process but in a more subtle way than having a discussion saying, 'Let's try and do a song like this' or something. It feels a little more unspoken now. Perhaps I'm just still too close to it in the moment."
Unlike Tranquility Base, whose theme centered on a futuristic hotel on the moon, The Car doesn't primarily focus on a particular subject running through the songs' enigmatic lyrics. "I think there is a theme or feel that runs through this whole record, but I don't think it's exclusive to the words," Turner explains. "It's almost easier to latch on to a theme if I take the words out of it for a minute and focus on what the feel of everything else is doing. I think that the lyrics are sometimes subscribing to that feel. And if there is a theme that runs through it, it's more along those lines than it is about XYZ, if that makes any sense at all."
"The first thing I wrote through it was this instrumental section at the beginning of the album," he continues. "Everything that came after that was written after that. It felt like it has a relationship with what was being evoked in that instrumental section. I wouldn't be leaning into the idea of it's just another 10 songs that aren't connected in any way. But at the same time, I don't think I can pin down a theme, not in a succinct sentence anyway."
The first single released off The Car, "There'd Better Be a Mirrorball," carries an air of melancholy amid the gorgeous strings and prominent piano lines, as Turner sings wistfully: "So if you want to walk me to the car you ought to know I have a heavy heart, so can we please be absolutely sure that there's a mirror ball."
"Obviously, you're describing the lead-up to some sort of goodbye line," Turner says, "and suddenly a mirrorball drops into the middle of that situation, which somehow doesn't seem totally incongruous in my mind. Perhaps on some level, the mirrorball is kind of synonymous with the closing of the show or something like that. But I think what I was imagining is carrying someone's suitcase to the car and then the lighting suddenly changes and the mirrorball drops in the middle of that situation. It's like, 'What's going on there?'I think it does feel like there are a few goodbyes here and there."
Introduced by beautiful acoustic guitar picking, the lyrical setting of "Mr. Schwartz" seems to take place at a movie shoot, which seems appropriate given the cinematic feeling of the song and the album. "There is a feeling of that behind-the-scenes of the production," Turner says. "That idea is not exclusive to or contained within just that song....It feels like there is something going on in the background of all these songs, like sort of a production: There's someone with a clipboard somewhere and somebody's up a ladder not too far from where these things are going on. The character of Mr. Schwartz was something that kind of did present itself to me in very real life, but sort of has been allowed to become a character in a song, I suppose."
The sweeping "Body Paint," the latest single, may be the most brash song of the collection. There are moments of electric guitar bursting through the lush orchestrations, while Turner's vocalizing echoes Bowie's '70s soul boy phase. It opens with a line Steely Dan or Prefab Sprout could have written: "For a master of deception and subterfuge you've made yourself quite the bed to lie in." Explains Turner: "It definitely does get pretty sparkly in the guitar toward the end of that. It's loud...more than I had expected it from the sketches of that song that we had before. I had it down for something that was gentle at the beginning. But during the session, there was something that was more lively that wanted to come out there at the end. I think that songs always continue to reveal themselves even sometimes after they've been recorded. We played the version of that on stage for the first time the other day, and it definitely seemed like it's still got somewhere to go. It's becoming a more exaggerated version of itself."
The Car marks another maturation and evolution in Arctic Monkeys' sound. Its release falls on the 20th anniversary of the band's formation. The hype surrounding Arctic Monkeys' arrival in the post-Britpop era has since become the stuff of legend: their early recordings were burned on CDs and given away at their shows, which prompted fans to upload them online. After signing with indie label Domino, Arctic Monkeys released 2006's Whatever People Say I Am, That's What I'm Not, which hit number one in the U.K. and became that country's biggest-selling debut. Since then, it has been hit albums, touring and festival appearances for the band. On his end, Turner has been engaged with a side project, the Last Shadow Puppets, whose elaborate sounds may have been a prelude to the music of Tranquility Base and The Car.
"It was the summer of 2002 when we first got all the way through the same song at the same time together," he recalls. "We still are friends like we were before it started, and still trusting each other and our instincts in the same way. "
The fact that Arctic Monkeys never made the same album twice most likely contributed to their longevity and friendship. It's been a progression that was more natural than calculated.
"When I cast my mind back to 20 years ago," says Turner, "there's always been something inherently uncooperative. I don't know if that somehow has translated to each time we've been faced with the task of making something new. There's something about not wanting to kind of cooperate with our perception of what we think that should be. I suppose you can arrive at the idea that if one record was successful, the next one should try and emulate or bark up the same tree as that one was. We're not having the board meeting where we're kind of discussing that out loud to that extent. The whole thing in the first place was done on a hunch, on an instinct, and I think that's something we're just still paying attention to, that same instinct all the way along. That's the through line."
Arctic Monkeys will be touring the U.K., Ireland, North America and South America the rest of this year and into 2023. Having branched out on their last two records, it wouldn't be surprising if their next record tackled another genre, perhaps hip-hop or ambient music. Turner says. "Yeah, why not? I'd have to give it some more thought. When I think about my perception of the way people make dance music, I am interested in that approach to it. I'm not saying that it's something I want to do, but I'm interested in watching somebody do it or something for an afternoon."
David Chiu is a Newsweek editor who writes frequently about music. Twitter: @newbeats
Further Listening
Whatever People Say I Am, That's What I'm Not
(Domino, 2006)
Recorded when the members were still in their teens and released amid tremendous hype, Arctic Monkeys' electrifying debut album put the band on a pedestal that they've never fallen from. Filling a void left by the end of Britpop and connected to the post-punk revival of the early 2000s à la the Strokes, the exuberant Whatever People Say I Am pummeled the listener into submission with its exhilarating guitar rock and Turner's observational wordplay.
AM
(Domino, 2013)
Arctic Monkeys' next album, 2007's Favourite Worst Nightmare followed the debut's template for the most part. But later records (2009's Humbug and 2011's Suck It and See) showed the band expanding its sound and Turner's lyrics growing abstract. AM, released in 2013,was a critical and commercial hit. Highlighted by such standouts as "R U Mine?" "Why'd You Only Call Me When You're High?" and "Do I Wanna Know?" this accessible effort drew from glam rock, classic rock, Black Sabbath, funk, soul and slinky danceable pop.
Tranquility Base Hotel & Casino
(Domino, 2018)
At the time of its release in 2018, the band's surprising sixth album, the ornate and ambitious Tranquility Base Hotel & Casino, was the indie rock equivalent of a concept record based on the theme of a lunar colony. Its baroque, trippy and lounge-pop sound recalled such influences as the Beach Boys, Leonard Cohen, Serge Gainsbourg and Tin Pan Alley. This record and subsequently The Car also found Turner channeling his inner Frank Sinatra and Dean Martin in his vocal performances.
