I've really in many ways been anticipating Arctic Monkeys third album Humbug these last few months. In some ways I've been fearing that the inevitable maturing process of these young britons would evolve into an album too oldschool-rock'n'roll'ish for my tastes. The last year or so, most of my musical influences have been more towards the electronic and dance-punk scenes, which is quite a ways from A.M. I was initially sceptical towards the lead single Crying Lightning, which was somehow exactly what I feared - a piece of slow, heavy rock. However it became a turning point for me when it came into rotation on my preferred radio channel P3. It is actually an extraordinarily catchy tune. Together with crooked opener My Propeller it kicks off the album in a promising way. It is recognizable Arctic Monkeys stuff, albeit somewhat slower than we've known them to initiate albums before (just think Brianstorm).Next up is Dangerous Animals, which to be honest seems to be one of the weaker tracks after the first few listens, eventhough its aggressively rambling bass is somewhat noteworthy. Secret Door kicks off as a ballad very akin to the predecessor's 'Only Ones Who Know', although it quickly evolves into something different. This is one of the tracks in which producer Josh Homme's presence is felt the most. You clearly sense that the four lads have been thrust out of working-class Yorkshire and into the expanses of the Mojave. Theres more of a stoned distance in both the dusty, queaky, organ-heavy instrumentalisation, and in Turner's vocals which are distinctively less Yorkshire. You can still hear that he's a Brit ofcourse, but there seems to be less of a presence of the local Tyke vernacular. Turner has matured as a lyricist as well.
Potion Approaching, while still somewhat slow in comparison to the first two albums, is one of the aggressiver tracks on the record. In a way it is a strong track, but it's a part of the album that's just a bit two stoned for my tastes. Afterwards though, things really kick off with the next four tracks being the strongest portion of the album. Fire and the Thud is still very Josh Homme'y, I mean, you can almost see the dust devils blowing through the Rancho and cowboys drawing six-shooters, but it is a perfectly digestible little thing. Cornerstone is some of the closest Arctic Monkeys have ever come to beautiful, and I wouldn't be surprised to see this as the second single off the album. It's not '505', but it's good. So is Dance Little Liar, which is another of the very desert-dusty tracks. It turns somewhat prog at about 3.20, which is a welcome infusion of musical creativity on an otherwise somewhat unexperimental record.
Even more prog is Pretty Visitors, which has emerged as one of my favourite tracks on this record. The constant changes in tempo and intensity really appeals to me, and this is in many ways the track that draws the most references to the two former albums, even though it too is distinctively Humbug. One thing I've noticed though is that Turners voice seems more apt for a song like this, rather than the more stoned ones. Closing off is The Jeweller's Hands, which honestly haven't really gotten to me yet.
This is not neither Whatever People Say I Am..., nor Favourite Worst Nightmare, and while Humbug definitely has the characteristics of an album that will grow on you slowly, I doubt that it will ever appeal to me in the same way as the youthfulness of the first and the intensity of the second album. There just isn't a 'Still Take You Home' or a 'Do Me A Favour', and I miss the unspoilt uncomplicatedness of the young Arctic Monkeys. To stay in the animal kingdom, there's just a bit too much scummy desert rat, and a bit too little monkey. It's like going from wearing Cheap Mondays to wearing Levi's or Wranglers. But one owes to Turner & co. that they have really proven themselves as capable artists. Matt Helders is still a brilliant drummer, and Alex Turner is still a formidable front man. They've overcome the necessary change of pace that will eventually spare them from becoming an indie Green Day phenomenon of a band going around the same old curve that made them succesful in the first place. I'm sure Arctic Monkeys have lost some, gained some on this album, but more than anything else, they've established themselves as a band able to do more than just taking home sorry groupies.
