Written by Elliot Morgan
25/10/2022
It has been four years since Arctic Monkeys divided their fan base with the drastic left-turn that was Tranquility Base Hotel and Casino. Whilst some loved the record, which took influences from lounge pop and psychedelia, many were disappointed with the departure from the MonkeysÔÇÖ traditional guitar-driven music. Their newest record, The Car, is no different. Retaining some elements of TBHC, the album feels cinematic and grandiose, sporting an eclectic range of influences and some of the most interesting creative decisions the band has made to date.
The album opens with its debut single, ThereÔÇÖd Better Be A Mirrorball. The track immediately introduces the jazz influences that permeate the record, and highlights Alex TurnerÔÇÖs fresh approach to penning lyrics. Throughout the record, the singer sounds more vulnerable and honest than past albums; gone are the wild concepts and characters of TBHC, and replaced with more earnest sentiment. The pace of the album shifts as the band transitions into their incredibly funky I AinÔÇÖt Quite Where I Think I Am, which they chose to play live prior to its release on their European tour. While this is understandable, the track is weak within the context of the album, feeling like no more than an off-cut from BowieÔÇÖs Station to Station.
The electronic Sculptures Of Anything Goes is a sinister track that culminates with a beautiful string section overlaying brooding synthesisers. It is the undeniable surprise of the album, sounding like nothing the Monkeys have ever recorded prior. Its Kid A-esque instrumentation and sharp lyrics make the track a highlight of the album. The band proves they are able weave multiple different styles of music into one record, with no detriment to the albumÔÇÖs cohesion. Furthermore, the listener realises The Car is only superficially similar to the preceding album. While the slower tempos and pianos have remained, the mood of the album is drastically different.
In drawing so heavily from numerous other artists and genres, the group were in danger of sounding merely like a cover band. However, this record still feels like a Monkeys project. This is mostly due to TurnerÔÇÖs vocals, which are at their most impressive; crooning and powerful, yet delivered with tongue-in-cheek wit. Body Paint is a stellar example of this, with the singer delivering the track in a far higher register than his usual vocals. The whole track shows the Monkeys as matured and confident in their musical abilities. They have maintained their individuality, while paying homage to their favourite artists.
The eponymous track The Car sounds as if it was plucked from the Once Upon A Time In The West soundtrack. The rather mundane motif of a car which is used throughout the album is rather interesting to juxtapose against the otherworldly subject matter of TBHC, suggesting that this album is altogether more down-to-earth. The following track, Big Ideas, continues the filmic quality of the record, sounding like a 1970’s Bond theme. Overall, the second side of The Car smartly foregoes any sense of urgency, instead setting a contemplative mood and allowing the listener to fully settle into the record both sonically and conceptually.
The record finishes with Perfect Sense, another outstanding addition to the already impressive canon of MonkeysÔÇÖ album closers. It is difficult to achieve the sense of finality required on a track just under three minutes – the song succeeds in all aspects. This track, and many others, see a shift from the unorthodox compositions of the previous record to structures more akin to traditional pop songs. The former, along with its lyrical content, means the track embodies the themes of the album and is an exquisite end to an already outstanding body of work.
Throughout The Car, the Monkeys prove that they are still capable of reinventing themselves in exciting and refreshing ways ÔÇô along with the fact Turner most likely spent all of lockdown bingeing French New Wave cinema. Will this nuanced record recapture the hearts of those who were disappointed by TBHC? Absolutely not. Yet, that was never a realistic expectation of this record. The Monkeys are defined by their ability to constantly progress forward, and the band knows that. An alternate reality where the band continued to write solely indie-rock tunes is dull and bleak, it is a reality without the remarkable accomplishment that is The Car.
