Arctic Monkeys
Suck It And See

THE REVIEW

The biggest question, approaching the fourth studio effort by the Arctic Monkeys, is almost inevitable: what direction have the former British child prodigies taken this time?

We have gone from a stellar debut, full of sharp guitars and adolescent spontaneity, to a powerful and more calibrated second album, to reach a third wonderful effort, "Humbug," which surprised everyone with a turn openly inspired by stoner and prog fascinations (guess who's at the controls? That sly old fox, Josh Homme!).

And now there's this "Suck It And See" keeping us company in this sunny taste of summer. As we get ready to press "play," other juicy questions come to mind: for example, how much have the escapades with parallel bands (the duo Last Shadow Puppets, an orchestral indie spree accompanied by his good friend Miles Kane, ex-The Rascals and now fresh with a solo debut and a heavyweight collaboration with His Brit-Majesty Noel Gallagher) and solo work (soundtrack for the film "Submarine") influenced the sound of the new album? The tracks play, and the answer comes clear, evident: a lot, a great deal.

Let's start by saying that the frenzied guitar work of their sensational debut is completely absent: we find a (very slight) trace of it in "Library Pictures," which, however, seems to draw more from the intricate rhythms often present in "Favourite Worst Nightmare" rather than from the communicative urgency of the popular first disc. On the other hand, a bit of the desert shift of "Humbug" can be heard in "All My Own Stunts," truly excellent.

For the rest, the almost singer-songwriter turn, with evident reminiscences of the '60s/'70s, taken by the Arctic Monkeys' songwriting is quite apparent; the new influences declared by leader Alex Turner (Bowie, Cohen, Reed) are consistent with the musical journey undertaken. Exemplary for melodic construction is the opener "She's Thunderstorms," enjoyable for a more classic structure (and for the recovery of the pop immediacy lost with "Humbug," as the good Turner had announced) are "Black Treacle," the masterpiece "The Hellcat Spangled Shalalala," and the closing “That’s Where You’re Wrong.”

It's important to highlight the latter part of the work, which recovers "Piledriver Waltz" from Turner's "Submarine E.P." and entrusts it to the whole band, and offers some singer-songwriter gems such as "Love Is A Laserquest," led by a very simple guitar arpeggio, Helders' regular drumming, and the warm voice of a Turner increasingly mature vocally, and the pair "Suck It And See" and "Reckless Serenade," superbly crafted pop-rock artisanry.

"Brick By Brick," an indie revamp that's not essential, and the single "Don't Sit Down ‘Cause I’ve Moved Your Chair," a fun track that seems to be stolen from the recent Alice In Chains' notepad (ref. "Check My Brain"), stand out from the group.

Great album, very well-written, excellently produced by the faithful James Ford, played well, and, as declared by the band, largely recorded live.

And if the Arctic Monkeys weren’t such meteors as someone thought? "Suck It And See" is another great answer.

Key tracks: "The Hellcat Spangled Shalalala," "Don't Sit Down ‘Cause I've Moved Your Chair," "Library Pictures," "Piledriver Waltz"