Arctic Monkeys: The Car

Whether you’re a younger millennial who adhered to the ‘Tumblr grunge’ aesthetic in 2013, or a person who enjoys some mainstream indie-rock at times, you’ve probably heard of the Arctic Monkeys. As the members and fan base have aged, the Arctic Monkeys have shed their post-punk-revival skin and followed the path of smooth jazz, low-tempo music that relies on the slow, crooning, Sheffield-accented voice of frontman Alex Turner. It’s been four years since previous new Arctic Monkeys’ music, and their new album The Car is a triumph in the genre-bending and nonsensical lyrics that ‘Monkey’s fans have learned to love.

 Here is a breakdown of the ten tracks on the sixth Arctic Monkeys album, The Car. 

Track #1: There’d Better Be a Mirrorball – This slow, dreamy song is a quick departure from the previous sound of the band, showing a more lounge-y, ethereal vibe. This song was also the first single off of the album, and for most, the first introduction to the new-and-improved Arctic Monkeys. A special shout-out to the classic jazz drums that make me think of an old Frank Sinatra style, standing before a vast orchestra while his voice rings throughout the Copacabana, or any other Jazz Club. 

Track #2: I Ain’t Quite Where I Think I Am – This song is a little more upbeat, with a funky, 70s-style ‘Wawa’ guitar and a more driving drum beat. ‘I Ain’t Quite Where I Think I Am’ signals the return of the falsetto, soft background vocals which are a staple in songs on both ‘AM’ and ‘Tranquility Base Hotel and Casino.’ Maybe I’m a sucker for good harmonies, but this is one of my favorites. 

Track #3: Sculptures of Anything Goes – This song takes a nosedive into intensity, with a blown out, slow bass, along with a vast contrast between Turner’s tenor crooning and what I can only describe as the ‘darkness’ that is present in the production of the track. Also present is the addition of the soft pipe organ in the background, which bumps up the score for any song in my mind. It’s almost as if Turner and his bandmates decided to create a song from Phantom of the Opera, but it is greatly appreciated. 

Track #4: Jet Skis on the Moat – The ‘Wawa’ guitar is back and the centerpiece of this slow, ethereal track. For some reason, the beginning of this song is not incredible, but that is not indicative of how the rest of the song goes. This song is very melancholic, like the rest of the album, but in this piece, it is most present. 

Track #5: Body Paint – This song was the second single off of ‘The Car’, and might possibly be my favorite. The piano is very prominent in this song, along with Turner’s high tenor voice, which it compliments so well. Every one of these songs contains some strings, but the strings in this song are resplendent. It also has a quality that I enjoy, showing how songs get increasingly crazier as the album continues. 

Track #6: The Car – This title track has an ‘old west’ quality. I think it might be the timpani in the background and the driving acoustic guitar, along with the ‘Good, Bad, and Ugly’ style strings that play behind the whole track. There is a certain quality about this song that reminds me of deserts, most likely Joshua Tree or northern Nevada. Sweeping is the word I would use to describe this song, at least until the guitar solo breaks the smoothness. 

Track #7: Big Ideas – Frank-Sinatra-Alex-Turner is back; this time, his lyrics are cynical and nonsensical! I have a presumption that Turner writes lyrics that sound good, not lyrics that make 100% sense. In this song, he even mentions the band/orchestra that is presumably behind him in the jazz club in my mind! The guitar solo for this song is very reminiscent of the guitar solos of musicians such as Eric Clapton and George Harrison, with the tone and timbre of the notes themselves.

Track #8: Hello You – This song reminds me the most of ‘AM’, with the continual bass lick. It feels a little lighter, however, with the bongos in addition to strings, much like the rest of the songs in the album. At this point in listening, I realize that the Arctic Monkeys find a new sound for the album, and make every single song have the same sound. It is a nice sound, but they are all very similar, except for ‘Sculptures of Anything Goes’

Track #9: Mr. Schwartz – This song starts out a little more melancholy than the rest, with the gentle Stairway-to-Heaven-style picking and chromatic scale bassline. There are also a few chimes in the very background. This song’s Latin influence is very heavy, specifically in the rhythm section. The bossa-nova style drums and rhythm guitar make this feel a little like ‘Girl from Ipanema’ or some other Bossanova song, because ‘Girl from Ipanema’ is the only one I know.

Track #10: Perfect Sense – This is the prom slow dance song of the album. It’s slow and meaningful, with continuous strings and lyrics that still don’t make much sense. This song wraps up the whole album, blanketing it in the silky smooth warmth that is subtextually sprinkled throughout the various tracks. 

Overall, this album shows great growth and a more nuanced sound amongst the Arctic Monkeys. Even though I personally decided that Taylor Swift: Midnights was more important to write about, I’ve found that I keep coming back to this album, time and time again.  The band is currently on tour with this album, with their ‘The Car’ World tour, and will be until October of ‘23.