(A) Whatever People Say I Am, That’s What I’m Not (Arctic Monkeys, Feb. 28) Grade: BThough a strong debut, the album probably won’t change your life or be very relevant in a few years. But anytime the four-letter word “hype” enters the equation, exaggerated expectations about “the new movement of music” spoils the listening experience...
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When choosing my summer abroad program during college, I chose to attend another university’s program in London over my own university’s in Sheffield. It was an easy choice: the former city is one of the epicenters of culture whereas the latter is, well, known to be a bit grim. The locals might even call Sheffield a “shithole;” though nowadays, they add, “But it’s our shithole!” This recent change in civic pride is partly due to Sheffielders Arctic Monkeys, whose debut album Whatever People Say I Am, That’s What I’m Not sold a record-breaking 363,735 units its first week in England.
Like their immediate predecessors, The Libertines (before Pete became the junkie he is today), the Arctic Monkeys offer infectious, dance-friendly urchin rock. In fact, music journalists (mainly NME, the band’s most faithful cheerleader) have cited these four young lads as continuing the movement that the Libertines started with Up the Bracket three years ago. But such assumptions seem somewhat premature. After all, it didn’t take Pete very long to dash hopes for his band did it? And while these Sheffielders are certainly likeable, they aren’t exactly creating anything new.
One of the main reasons why England youths might find the Arctic Monkeys so irresistible though is their instantly identifiable persona. In spite of their standard musical compositions and familiar sounds, they are relatable to those who get kicked in the head by bouncers, drink underage and work at the local off-license. The booklet for Whatever People Say I Am features photos romanticizing lower-class culture: a young woman in a trainee uniform, mates eating take-away in a taxi and generally dark images of street life. Like the Jam and Pulp before them, the Arctic Monkeys shine a spotlight on the issue of social class, but the difference is that there’s no commentary about it. Instead, the band has scored a catchy soundtrack to that lifestyle, which not only makes it attractive, but those who identify clamor up in arms with pride. Even the way in which the Arctic Monkeys gained popularity—Internet chat rooms and illegal downloads—feels accessible. What chav could deny such appeal?
Whatever People Say I Am is mainly about dancing (“I Bet You Look Good on the Dancefloor,” “Dancing Shoes”), gigs (“Fake Tales of San Francisco”) and the game of love (“Still Take You Home,” “Mardy Bum”). “A Certain Romance”—about blokes who’d like to throw a punch, have too many cans and act like a dickhead—idealizes its subject despite the repetitive “there’s no romance around there.” Though a strong debut, the album probably won’t change your life or be very relevant in a few years. But anytime the four-letter word “hype” enters the equation, exaggerated expectations about “the new movement of music” spoils the listening experience. As the Arctic Monkeys sing in “The View From the Afternoon,” “Anticipation has a habit to set you up.” It’s a good thing to keep in mind.
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