Trio Of New Releases Offers Out-of-this World Music
Arctic Monkeys — ‘Tranquility Base Hotel and Casino’
THE GOOD: English indie rock mainstay Arctic Monkeys makes a radical shift on its sixth.
THE BAD: Nothing bad, but “Tranquility Base” is sure to be polarizing among long-time fans.
THE NITTY GRITTY: Musically, the record is closer to frontman Alex Turner’s side project, Last Shadow Puppets, than any previous Arctic Monkeys set. Comparisons to both David Bowie and Serge Gainsbourg are warranted, with the album a heady mix of psychedelic rock, glam, lounge, jazz and chilly dance beats. Guitars aren’t nearly as important this time; the rhythms, switched-on keyboards and piano dominate the proceedings.
Lyrically, Turner goes the sci-fi route, creating a fictional world of recreation and escapism on either our own moon or some distant planet. The guy suffered a period of writer’s block and had to do SOMETHING different. Sending us off planet Earth was the inspired choice. Combine these fits of fancy with the bold new musical direction, and Arctic Monkeys challenges us at every turn. Shockingly, the group pulls it off.
BUY IT?: Yes.
Johnny Marr — ‘Call the Comet’
THE GOOD: Ex-Smiths guitarist (not to mention former member of Electronic, The The, Modest Mouse and the Pretenders) Johnny Marr offers his third solo record.
THE BAD: Not really.
THE NITTY GRITTY: Marr is not the strongest frontman, but having played alongside Morrissey, Bernard Sumner and Chrissie Hynde, he never had to be. However, he’s now a SOLO act. One would think the man’s understated vocals would be detrimental, but that hasn’t been the case. The breath and scope of “Comet” also proves Marr is gaining confidence in his role out front and center.
The record’s loose concept asks the question, “What would life be like in a place where everyone is kinder and more forward-thinking?” Like those of his contemporaries, Marr’s lyrics reflect the crazy political climate here in the United States and his native United Kingdom. Musically, we’re given a healthy dose of Marr’s magnificent melodies alongside his powerful, but never flashy, playing. At this point, the man could easily rest on his laurels. He refuses.
BUY IT?: Sure.
Stephen Malkmus and the Jicks — ‘Sparkle Hard’
THE GOOD: Indie rock legend and ex-Pavement mastermind Stephen Malkmus gives us his seventh with current band the Jicks.
THE BAD: No.
THE NITTY GRITTY: Pavement was such an influential force throughout the ’90s, Malkmus probably will never fully escape that band’s shadow, even despite the fact that the Jicks has made music for twice as long. Thankfully, that doesn’t prevent the man from giving us a good reason to show up. He still has something relevant to offer two decades after the last Pavement record.
“Sparkle Hard” is lyrically timely, with Malkmus getting downright confrontational with some current events. Musically, it’s a mixed bag covering everything from raging guitar jams (“Bike Lane”) to ragged power pop (“Shiggy”). “Refute” swings by a smoky honky-tonk where Malkmus does a loose duet with fellow indie icon Kim Gordon. “Difficulties/Let Them Eat Vowels” closes the session with some weird prog vibes. Malkmus surprises us around every turn, his music never falling into long-term complacency or malaise.
BUY IT?: Surely.
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