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It’s here that the comparisons to Jared Leto become more than superficial as, in all but a name, this is an Alex Turner solo album, the spiritual successor to Submarine that so many have touted it as. Just look at Tranquility Base Hotel + Casino, an album that early buzz already suggests is the band’s most divisive release to date, and with no singles prior to its release, it’s indicative of a band with either the greatest of faith of how much this will resonate, or safe in the knowledge that their fanbase will lap it up regardless.īut really, no one should be that surprised about what we got, as Tranquility Base Hotel + Casino is exactly what you’d expect an Arctic Monkeys album to sound like in 2018 – supremely polished with a smoother, less rocky influence built on even further, and seeing Turner slowly phase out the band dynamic to have the spotlight all to himself. And that’s definitely soured the Arctic Monkeys, now firmly in the mould of capital-A artistes that they seem extremely reluctant to leave. They’re a band who, now, are virtually unrecognisable, no longer the embodiment of dulled, northern youth that saw so many gravitate towards them, and instead, the Americanised, leather-clad vehicle for Alex Turner’s all-encompassing, Jared Leto-esque ego.

But looking at everything the band have done in a vacuum, the diminishing returns are blatant, only somewhat picked up by 2013’s AM. Why does anyone still care about the Arctic Monkeys? That question alone is probably enough to ignite some volatile discussion after all, they’ve become the poster boys of British indie music, and their debut Whatever People Say I Am, That’s What I’m Not is frequently heralded as a modern classic, and rightly so.

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