The critical consensus of Arctic Monkeys' second album, 2007's Favourite Worst Nightmare, was that it was a repeat of their first. While that isn't entirely misguided, FWN was textured and more confident than 2006's Whatever People Say I Am, That's What I'm Not.
The studio work on tracks like Only Ones Who Know and If You Were There, Beware was miles away from the no-frills production of their debut. It was a leap from Strokes-esque garage rock into something more, something heavier. Examples of this growth were especially on display with many of that album's b-sides.
An Attempt At Something New
This time, however, the differences are a little more apparent. Recorded with Queens of the Stone Age's Josh Homme acting as producer, the Monkeys offer a record that's a genuine grower, grasping for artistic credibility.
At times they feel a little phony trying to play grown-up. That, and this record is set on one mood and one mood only: there's a druggy haze that permeates all of the tracks. A bummer to be sure for long time fans of the band; missing are the fast-paced songs with super specific lyrics. These songs are still stories, to be sure, but one can't help but feel that the cool kid in the lunchroom has started to rebel by hanging out with the potheads.
Standout Tracks
My Propeller lacks the opening-track oomph of Brianstorm and View From The Afternoon; that being said, nothing here really shouts Side A, Track 1. There's a certain degree of blatant sexuality with this track (take a guess at what Alex Turner's propeller is), even with all the new found love of thinly-veiled metaphors.
Crying Lightning, obvious pick for first single, is a little more confusing. Driven by a distorted bassline, the character sketch here is harder to distinguish; a former/current fling with a candy fetish teases the singer with her game, interestingly enough called crying lightning. Hmm. Arguably the catchiest thing on the album, this song stands up as one of their strongest singles ever.
Does It Work?
The rest of the album continues in the same vein. A little sleepy, sure, but after several listens the songs begin to distinguish themselves from one another. Some might complain that the Monkeys now sound like QOTSA-lite, but that's a pretty lazy comment.
A certain degree of respect is warranted in their direction; while at this point infiltrating the American mainstream has already been seen as something less than on the forefront of their agenda, Humbug takes any momentum Arctic Monkeys may or may not have had for a successful record in the States.
For Fans Only?
Making an album for the fans while simultaneously subtracting what made them so great (lyrics drenched in social realism, the propulsive drumming of Matt Helders) seems like an odd move. However, whether or not they're in a position to take such a risk is an after-thought that demands asking again only once the music itself fully reveals itself to the listener.
The Arctic Monkeys are still the Arctic Monkeys, just a little more "mature", although that tag may also be shortsighted. Only time will tell how this album fits in with the rest of their catalogue, but for now it's this young band's odd man out. Cliche as it may be, Humbug sounds like the hangover after it's precursors. While hangovers are never fun, they're definitely a good time for reflection.
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