In “Crying Lightning”, the first single from Humbug, it is evident that “Arctic Monkeys” holds a different meaning than it did in 2006, when Arctic Monkeys (the band) released Whatever People Say I Am, That’s What I’m Not, and turned the indie rock world upside down. Instead of the almost comedic interpretation of their name at the time (don’t you just picture a monkey dancing around to keep warm because it is cold and lost?), it is almost as if the term now describes an animal (the band) being outside of its (their) comfort zone, surviving (and taking that influence and turning it into some music). Vocalist/guitarist Alex Turner has said that the meaning of the band’s name is closer to the musical output on Humbug than anything else the band has released. If so, it is most notable in the heavy riffage, along with the ethereal lead guitar lines; the second verse of “Crying Lightning” features Troy Van Leeuwen-style slide guitar in the background weaving in and out, while the guitar solo is reminiscent of Lullabies To Paralyze-era Queens of the Stone Age. It is not surprising that the album is almost entirely produced by Josh Homme – his influence is felt all over Humbug, for better or for worse.
“Dangerous Animals” continues the trend set by the first two tracks; a dirty, heavy riff that sounds like the lost cousin of “Fake Tales of San Francisco” – a riff that feels like it could have come from Homme himself – dominates the track throughout. A lot of tracks have that signature desert vibe. “Potion Approaching” is a furious rocker that eventually dwindles into a bass-driven jam. An organ starts off “Pretty Visitors”, a track dominated by drummer Matt Helder and an almost breakdown-like passage that gives Muse‘s “Stockholm Syndrome” a run for its Brit-rock money. The album closes with the six-minute “The Jeweler’s Hands”, the most progressive track the band has put to tape; a heavy bassline drives it steadily along, until the near-chaotic climax. And while most of tracks have this desert vibe, it is when the band shys away from the idea a bit (“Cornerstone”, “Fire and the Thud”), that Hubmug starts to lose its power. Fortunately, the album places these tracks in the middle of strong opening and closing suites.
Humbug is a great album, but is it anything more than Arctic Monkeys being produced by a desert-rock legend? It doesn’t feel like much more – Homme’s name is all over it, musically and production-wise – but what makes this such an issue is that this album is solid, through and through. Thus, another issue arises: Is it even worth asking the question posed two sentences ago? Yes. Maybe it is in wonder of how much this album really reflects Arctic Monkeys. Sure, Turner says it is the most Arctic Monkeys-sounding record yet, but with so much Homme all over the place, how much of it is truly the work of the band? That is the question that, even up until this review, I have not been able to answer. However, for the sake of finishing this review without any more wasted e-space, I will take Turner at his word. If this really and truly is the meaning of “Arctic Monkeys”, then count me in.
(8.0/10)
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