Explaining the influences behind Arctic Monkeys’ evolving sound
“We’ve been in the band together longer than we haven’t,” Alex Turner tells Matt Wilkinson at Montreal’s 2018 Osheaga Music and Arts Festival, referring to his lifelong friendship with Matt Helders. Turner describes their relationship as one where they practically grew up as inseparable friends, sharing diverse musical preferences and introducing each other to exciting new sounds.
Of course, this period coincided with the influential release of The Strokes’ Is This It, which left a profound impact on the young and impressionable Turner, inspiring him to aspire to become the next indie sensation. Over time, however, his musical influences expanded, developing his ever-evolving and versatile sound.
The misconception that Turner’s influences revolve solely around indie rock was dispelled when Tranquility Base Hotel + Casino arrived in 2018. While he had previously shared snippets of his musical tastes during the promotion of earlier albums, their sixth record fully showcased the extent of Turner’s eclectic listening habits. While Arctic Monkeys’ beginnings were deeply rooted in indie rock, Turner’s musical voyage has transcended those boundaries, and his varied musical interests reveal a deep-seated passion for music that knows no limits.
Before we delve into Turner’s later and more diverse sources of inspiration, let’s begin with the obvious starting point: the pioneers of indie rock. It’s no surprise that an album as fiercely indie as Whatever People Say I Am, That’s What I’m Not would draw influence from the likes of Oasis and their revered records Definitely Maybe and Be Here Now. Likewise, Turner’s iconic line, “I just wanted to be one of The Strokes,” alludes not only to the band’s rock contributions but also to Julian Casablancas’ profound, poetry-infused rock sensibilities.
With the passage of time, revisiting the carefree contemplations of those early indie bands has taken on a more profound sense of nostalgia for a seasoned Turner, who reflects on their appeal through the distinctive lens of maturity. These days, listening to those indie rock icons might hold about the same allure as willingly revisiting Arctic Monkeys’ earlier B-sides. However, with Turner’s multifaceted and retrospective mindset, his fondness for these classic tracks exudes the same charm as his diverse musical interests.
Like many who rise from the ashes of punk and rock and roll, placing certain artists like The Velvet Underground and its esteemed frontman Lou Reed on a pedestal is an expected feat, particularly for Turner, who has become a revered lyricist in his own right.
Those who have a profound way with words, like the writing prowess of Reed himself, along with the vocal talent of artists like Frank Sinatra, became the basis for Turner’s shaping. “My dad was a science teacher when I was born,“ Turner told Entertainment, “but around that time, he stopped teaching physics and started teaching music instead. He played in swing bands and stuff, so that was his thing. And the song I remember asking him to play when I was really little was Sinatra doing this song about how ‘there’s an awful lot of coffee in Brazil.’”
Aside from singing, Turner finds his greatest influence in a particular soundscape – Serge Gainsbourg’s magnum opus, Histoire de Melody Nelson. Within the dusty, moonlit atmospheres of the 1970s and its nostalgic yet forward-looking themes, lies the essence of Turner’s bass inspirations. “I’ve been chasing down the Melody Nelson bass tone for, like, ten years now,” said Turner in a 2018 interview with MOJO. He wasn’t the first to be influenced by its mastery, and he certainly won’t be the last – despite its minimalist approach, each of the album’s ingredients is utilised with exquisite precision.
Following the launch of Arctic Monkeys’ second album, Favourite Worst Nightmare, it became evident that the band was teetering on the edge of a new sonic direction, though not entirely certain of their path. Collaborating with Josh Homme for their third album, Humbug, led to a noticeably grittier and darker sound, which unquestionably set the stage for their subsequent musical evolution. For Turner, Homme was more than a musical influence; he also managed to get the band “out of a little rut”, adding that “his contribution to our record is really exciting, it’s probably my favourite.”
In Turner’s diverse musical arsenal, you can discern subtle traces of various other influences, including American band The Nude Party, French indie ensemble Juniore, rock group Alabama Shakes, singer-songwriter Scott Walker, rock-pop artist Benji Hughes, The Beatles, and, of course, Leonard Cohen. What’s remarkable is the way Turner adeptly assimilates all the music he holds dear, crafting compositions that gleam with the same allure as the initial encounters with these musical luminaries. He articulates his love for music genuinely, echoing the legacy of those who’ve paved the way in both his sound and lyrics.
