by Sofia Lammali
The Arctic Monkeys’ seventh studio album The Car marks the Sheffield band’s transition from an indie rock band to a smooth lounge act. It comprises songs that you would be more likely to hear in a cocktail bar than at a rock concert. Fan reception to this change has been incredibly polarised, but the album is nonetheless a decent step into new territory.
The first single of the album, which is also the opening track, “There’d Better Be A Mirrorball” hinted at this drastic change upon its first release. Opening with a dreamy piano, we are then serenaded by Alex Turner’s distinct vocals over a melancholy drum beat. It’s a solid, sultry opening number. “Body Paint” acted as the album’s second single, and is perhaps the closest to their conventional style, being filled with the swagger that has come to define the band. It has endearing synth leads and violins that keep things interesting in addition to the entertaining guitar solo at the end.
Despite decent singles, the album has its fair share of fillers. The title track, “The Car”, is unfortunately quite forgettable. Though the balance between the string orchestra and guitar is interesting and just about works, it doesn’t lead to a particularly compelling song. “Hello You” is more playful, but fizzles out abruptly, as does “Mr Schwartz”. This tendency for songs to end suddenly with little warning is prevalent throughout the record.
The album’s highlight is the second song “I Ain’t Quite Where I Think I Am”. Its funk bass lifts the mood and is complemented by an orchestral bridge and cinematic violins. The obnoxiously titled “Jet Skis On The Moat” is also strong, opening with a smooth, 70s funk guitar and manages to balance gloomy with sexy. “Big Ideas” is also a high point. It is the most climactic song on the album, worthy of a James Bond soundtrack, with a full-bodied orchestra.
“Sculptures of Anything Goes” sees the band use drum machines and synthesisers to create a booming bass beat, more reminiscent of their previous work. It’s a little unsettling, and one that will prove a little divisive. Finally, “Perfect Sense” closes out the album with wonderful violins, but it doesn’t have the feel of a closing track and is ultimately rather underwhelming.
As a whole, however, the album works. The retro arrangements are impressive and the album successfully creates atmosphere. Its main drawbacks are that a lot of the songs are remarkably unmemorable. It’s not exactly thrilling, and some will definitely get frustrated by how there is rarely a chorus nor climax that makes the occasionally tedious pacing worth it. The lyrics are enigmatic at best and nonsensical at worst, and Alex Turner’s vocal performance is far from his best. Despite this, the album triumphs through lavish instrumentalization, a cinematic feel and a bit of glam rock flair.
The Arctic Monkeys’ seventh studio album The Car marks the Sheffield band’s transition from an indie rock band to a smooth lounge act. It comprises songs that you would be more likely to hear in a cocktail bar than at a rock concert. Fan reception to this change has been incredibly polarised, but the album is nonetheless a decent step into new territory.
The first single of the album, which is also the opening track, “There’d Better Be A Mirrorball” hinted at this drastic change upon its first release. Opening with a dreamy piano, we are then serenaded by Alex Turner’s distinct vocals over a melancholy drum beat. It’s a solid, sultry opening number. “Body Paint” acted as the album’s second single, and is perhaps the closest to their conventional style, being filled with the swagger that has come to define the band. It has endearing synth leads and violins that keep things interesting in addition to the entertaining guitar solo at the end.
Despite decent singles, the album has its fair share of fillers. The title track, “The Car”, is unfortunately quite forgettable. Though the balance between the string orchestra and guitar is interesting and just about works, it doesn’t lead to a particularly compelling song. “Hello You” is more playful, but fizzles out abruptly, as does “Mr Schwartz”. This tendency for songs to end suddenly with little warning is prevalent throughout the record.
The album’s highlight is the second song “I Ain’t Quite Where I Think I Am”. Its funk bass lifts the mood and is complemented by an orchestral bridge and cinematic violins. The obnoxiously titled “Jet Skis On The Moat” is also strong, opening with a smooth, 70s funk guitar and manages to balance gloomy with sexy. “Big Ideas” is also a high point. It is the most climactic song on the album, worthy of a James Bond soundtrack, with a full-bodied orchestra.
“Sculptures of Anything Goes” sees the band use drum machines and synthesisers to create a booming bass beat, more reminiscent of their previous work. It’s a little unsettling, and one that will prove a little divisive. Finally, “Perfect Sense” closes out the album with wonderful violins, but it doesn’t have the feel of a closing track and is ultimately rather underwhelming.
As a whole, however, the album works. The retro arrangements are impressive and the album successfully creates atmosphere. Its main drawbacks are that a lot of the songs are remarkably unmemorable. It’s not exactly thrilling, and some will definitely get frustrated by how there is rarely a chorus nor climax that makes the occasionally tedious pacing worth it. The lyrics are enigmatic at best and nonsensical at worst, and Alex Turner’s vocal performance is far from his best. Despite this, the album triumphs through lavish instrumentalization, a cinematic feel and a bit of glam rock flair.
