The Arctic Monkeys have, not wanting to turn their backs on perceived failings, put at least three songs on Suck It And See (Brick By Brick, Library Pictures, All My Own Stunts) that play out like salty leftovers from their previous album - Humbug. Library Pictures, for instance, could be taken as a companion piece to Pretty Visitors with it’s cascading rhetoric and lucid midway waltz. Generally though on Suck It And See there’s an overall feeling that the Sheffield foursome are striving for more than just the breathe-too-hard-and-they’ll-fall-over melodies featured on Humbug. The denser production and brighter tone on songs like Reckless Serenade, Suck It And See and the epic That’s Where You’re Wrong hint at a new direction altogether.
As the rest of the British indie/alternative music scene scrambles desperately to sound like early to mid 1980s synth pop groups (a revivalist genre ensnaring the likes of Kaiser Chiefs, Glasvegas and Editors) the Arctic Monkeys have boldly moved on a step and now warmly tip their flat caps to late 80s Madchester bands and Union Jack waving 90s Britpop stalwarts such as The Stone Roses, The Charlatans, The Bluetones, The Lightning Seeds and, erm, Babybird (you’ll know it when you hear it). It’s a brave step, considering that said decade of untucked long-sleeved shirts and shaggy bowl haircuts still feels relatively close and, as with all just-departed periods of fashion and music culture, regrettable. But the Monkeys’ fourth album effortlessly strives to celebrate a jangly, drunken singalong vibe that has all but vanished in contemporary indie rock.
Suck It And See’s opening track contains a couple of mistakes… intentional mistakes, of course… clever mistakes. She’s Thunderstorms acts as a continuation of Humbug’s precedent of getting the ball rolling with a tale of sexual frustration and symbolic titillation. Alex Turner sings about having girls “lying on [their] front” or “up against the wall”. Wherever. But girls send his mind and mouth into a frenzy and his rising blood pressure shoots his vocals into a topsy turvy summersault. So much so are these four Northern boys distracted by black leggings and teasing feminine fringes that even the guitar solo gets “sabotaged” by too much distortion that creates an ugly and cloudy fuzz tone (tightened slightly with effects and equalisation) that most guitarists would demand a re-take of.
What seems to have changed most of all since 2006’s Whatever They Say I Am, That’s What I’m Not is the prioritisation of Turner’s crooning vocals over frenetic twin guitar attacks. Each song is constructed to allow the vocals to wander in and out at any time, like a band playing live that’s waiting patiently for their singer to swagger back on stage after a lengthy cigarette break. The compositions are looser and take into account a more patient audience/fanbase that are less in need of instant pop gratification. You get the feeling that Richard Hawley and The Divine Comedy have been playing on Turner’s turntable of late and have taught him the importance of languid purposeful pace and charming music hall pomp.
If their milestone 2006 debut represented a snapshot of being at the age when you’re either too old or too young to get away with reckless behaviour and could never (and probably should never) be repeated then ideally what has come along since should be considered their true starting point. Suck It And See is the sound of the Arctic Monkeys finally settling into themselves; juggling playful images of love, loss and life in perpetual motion with shimmering guitar jetstreams and show-stopping rhythm section interludes.
But there are still pleasant consistencies: we’re treated to perhaps the most tender and soulful tune they’ve yet committed to tape in the form of Love Is A Laserquest which continues their endearing predilection for introspective ballads (see Riot Van, The Only Ones Who Know and Secret Door for more information). We also get a (now standard?) mid-tempo love song with Piledriver Waltz that’s definitely equal to the likes of Mardy Bum, Florescent Adolescent and Cornerstone.
Overall Suck It And See has a lasting quality that makes up for the service station comfort break that was 2009’s Humbug, however the whiskey soaked ventures into haunted forest atmospherics are still present and have yet to be shaken off by a band still too youthful for such bitter grown up antics. Stick to the guitar pop, boys, there’s still plenty of time to emulate Nick Cave and Tom Waits... and don’t worry about trying to impress Queens Of The Stone Age’s Josh Homme (who co-produced Humbug) with limp interpretations of stoner rock and cactus blues, he’s only a ginger and can’t hurt you.
4/5
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