Formed by four teenage friends in High Green, Sheffield, Arctic Monkeys turned MySpace demos and thick Yorkshire vernacular into the fastest-selling debut album in UK chart history, Alex Turner's rapid-fire lyrics capturing weekend nightlife with a novelist's eye for detail. Across seven albums they shed the scrappy garage-rock urgency of Whatever People Say I Am, That's What I'm Not for the desert-rock strut of AM and eventually the lounge-crooner detachment of Tranquility Base Hotel & Casino, rarely repeating themselves twice. Turner's evolution from wiry indie wit to velvet-voiced auteur made the band one of the few 2000s guitar acts still genuinely surprising people two decades on.
Turner has named the Strokes as one of the records that made him want to be in a band in the first place — the taut, unfussy garage-rock riffing and deadpan cool of Is This It gave Arctic Monkeys' earliest songs their nervy, economical snap.
listen forPut on the Strokes' Last Nite, then Arctic Monkeys' I Bet You Look Good on the Dancefloor — that same clipped, downstroke guitar hook and too-cool-to-care vocal delivery runs straight from Casablancas's New York apartment into Turner's Sheffield bedroom.
Turner has cited Oasis's Definitely Maybe and Be Here Now as records that hooked him on guitar music growing up, and the band's knack for a huge, plainspoken, singalong melody resurfaces whenever Arctic Monkeys slow down and reach for an anthem.
listen forPlay Oasis's Live Forever, then Arctic Monkeys' Cornerstone — different accents, same trick: a plainspoken lyric riding a melody built to be bellowed back at the band from the front row.
Turner told NME he wanted AM to sound 'like a Dr. Dre beat' filtered through guitars, and the album's thick, slowed-down grooves and space-conscious low end show the band deliberately borrowing hip-hop's sense of rhythm rather than rock's.
listen forCue up a Dr. Dre G-funk groove like Nuthin' but a 'G' Thang, then Arctic Monkeys' Do I Wanna Know? — listen for how the guitar riff sits back in the pocket the way a hip-hop bassline would, built for nodding along more than jumping around.