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Catapulted into the pack of essential British bands of the decade by hordes of rampaging fans, that's saying that this third album Arctic Monkeys was eagerly awaited. Especially since the announcement of the presence of Josh Man behind the console on most pieces.
With a near-pristine course but relatively narrow, it was now mandatory for the group to question everything in order to move forward and avoid repetition. It would have been disappointing to find here the same recipe as the first two (very good) albums and their few EPs. The release of the first single "Crying Lightning" rose quickly any apprehension. New sound, new melodic vein and an atmosphere far above the usual electric and tense atmosphere. A fat, warm and melancholic screed is the basis for this completely baffling title. It has also had dozens of plays to tame this new universe and understand where we wanted to lead Alex Turner. Once this not cross, understanding "Humbug" is easier.
Exit therefore the dancing tubes where the single verve Turner carved a suit to remained of his generation. Humbug is led, worked and chiseled. We feel that the group has polished his melodies and arrangements to attempt a more thoughtful album. Fini urgency. And the result is sometimes missed, often admirable.
One thing leaps immediately to the ears: this new musical direction is difficult marries the once customary speed of the group, the weakest songs on the album is the fastest ("Approchoaching Potion", "Dangerous Animals"). Only "Pretty Visitors" tempo alternating fast and slow incisive verses and choruses and swaying, is doing in this register.
For Humbug is primarily a disk mid-tempo ballads. And fucking ballads elsewhere! We feel that the parenthesis Last Shadow Puppets has developed a new sense of melody in Turner, a new sensitivity. The thrills experienced at listening to "Secret Door" or "Cornerstone" will not lie: this kid, unnerving talent, is gradually becoming an outstanding composer. The psychedelic appearance sealed the first and disillusioned romanticism of the second show an undeniable maturity. The B side of Humbug also near perfection. The sequence of songs from "Cornerstone" is admirable consistency. The construction of a thick and ominous atmosphere, accentuated by the typical effects of production Josh Homme (roaring bass, ghostly slide ...), has all the masterstroke. We had not heard such great mastery since The Invisible Invasion The Coral.