There’s something about the Arctic Monkeys’ music that absolutely screams October to me. Maybe it’s a murky combination of factors, maybe it’s just the vibe, but it’s something I haven’t ever been able to completely put my finger on, yet have always felt. No Arctic Monkeys record gives me this feeling more than AM (2013). This week, I decided to dive back into the album to pinpoint why it is that the Arctic Monkeys are just so October.
Kicking off the album is “Do I Wanna Know?” with that iconic, instantly-recognizable opening riff. “Do I Wanna Know?” was the second single off AM and sees lead singer Alex Turner obsessively analyzing his relationship with the masterful lyricism he’s known for: “Been wonderin’ if your heart’s still open / And if so, I wanna know what time it shuts / Simmer down and pucker up, I’m sorry to interrupt / It’s just I’m constantly on the cusp of tryin’ to kiss you” he confesses. The grungy and amazingly articulate “R U Mine?” picks up where “Do I Wanna Know?” left off with Turner singing “She’s a silver lining, lone ranger ridin’ through an open space / In my mind, when she’s not right there beside me / I go crazy ’cause here isn’t where I wanna be” laid over some addictive power chords. Both songs, set against evocative instrumentals, depict obsessiveness with a clarity only Turner could achieve.
“One For The Road” teaches a powerful lesson in delayed gratification. It’s slow to start but picks up in the most satisfying way with some plucky guitar and Turner’s chilling vocals. Next is “Arabella,” a very rock ‘n’ roll track that’s reminiscent of Black Sabbath’s “War Pigs” with doubled vocals during the bridge that make the song even more all-consuming. “I Want It All” is less impressive with almost obscured vocals, although the guitar and scatting manages to keep me engaged.
“No. 1 Party Anthem” is without a doubt one of my favorite songs from AM. The Arctic Monkeys present us with a rare but flawlessly done ballad that sonically reads like a love song. Turner’s voice fits so well with this style that “No. 1” leaves me wishing there were more Arctic Monkeys ballads out there. It’s another lyrically complex track that vividly tells a story with lines like “Drunken monologues / Confused because it’s not like I’m falling in love / I just want you to do me no good / And you look like you could.” “Mad Sounds” is like a lullaby, especially when compared with the rest of the album, and continues the slower tempo of “No. 1.” Turner’s voice morphs into something soft and graceful, providing AM with additional depth.
The record picks back up with “Fireside,” featuring pensive instrumentals and lyrics, as Turner laments the end of a relationship and questions if it’s actually even over: “Like in my heart there’s that hotel suite / And you lived there so long / It’s kind of strange now you’re gone.” “Why’d You Only Call Me When You’re High?” was one of AM’s more successful tracks (understandably so), including creeping instrumentals and the absolute best Arctic Monkeys bridge to date. “Snap Out Of It” is a bit poppy and another personal Arctic Monkeys favorite. Turner tells a girl to give up on him: “It sounds like settlin’ down or givin’ up / But it doesn’t sound much like you, girl / I wanna grab both your shoulders and shake, baby / Snap out of it,” he groans.
“Knee Socks” has a weaker chorus — we’ve seen better from this group — but an interesting bridge that contains vocals from Josh Homme, a producer and friend of the band. Turner told BBC1, “the 30 seconds that he’s in there is just, I dunno, it’s like something that I’ve never heard before. Not to blow my own trumpet or anything, but you know what I’m saying.” The sultry and ever-popular “I Wanna Be Yours” caps off the album, which plays with John Cooper Clarke’s poem (entitled “I Wanna Be Yours”). Turner’s voice is key here, and the vocal layering during the chorus stands out in particular. It’s easy to get lost in the hypnotic repetition in the chorus, as is the case with many Arctic Monkeys songs. That, I gather, is what makes the Arctic Monkeys so October for me — the way they lure you with haunting lyrics and sounds that get you hooked … it makes it hard to stop listening. They’re practically begging to be associated with spooky season.
Test Spins is a weekly throwback column reviewing and recommending classic and underrated albums from the past. It runs every Friday.
Sydney Levinton is a sophomore in the College of Arts and Sciences. She can be reached at slevinton@cornellsun.com.
