Whatever People Say I Am, That's What I'm Not

1	The View from the Afternoon 3:38
2	I Bet You Look Good on the Dancefloor 2:53
3	Fake Tales of San Francisco 2:57
4	Dancing Shoes 2:21
5	You Probably Couldn't See for the Lights But You Were Staring ... 2:10
6	Still Take You Home 2:53
7	Riot Van 2:14
8	Red Light Indicates Doors Are Secured 2:23
9	Mardy Bum 2:55
10	Perhaps Vampires Is a Bit Strong But... 4:28
11	When the Sun Goes Down 3:20
12	From the Ritz to the Rubble 3:13
13	A Certain Romance 5:31

Barnes & Noble

Sheffield, England, foursome Arctic Monkeys started 2005 as relative unknowns but -- thanks to some catchy songs, an impressive live show, and a rabid, Internet-savvy fan base -- became a music industry phenomenon by year's end. Their first two singles debuted at No. 1 on the British charts, as did this album, which is officially the fastest-selling debut in British recording history. It's a bit hard to hear the music for the hyperbole at this point, though if you can cut through the ballyhoo it's easy to see what at least some of the fuss is about. Musically, Arctic Monkeys' shambolic, melodic rock isn't so different from any number of other contemporary bands who spent the last five years listening to the Strokes and the Libertines (and maybe the Jam). But frontman Alex Turner is a keen observer whose lyrical barbs are tossed off with attitude and a thick northern accent, and his songs paint a more vivid portrait of what it's like to be young, male, and British in 2006 than a year's subscription to FHM, Loaded, and the NME ever could. Vignettes include a look at the intricacies and frustrations of the mating game ("I Bet You Look Good on the Dancefloor," "Dancing Shoes") and dealings with both meathead bouncers at clubs ("From the Ritz to the Rubble") and small-town cops ("Riot Van"). Turner saves most of his ire for the music industry. "Fake Tales of San Francisco" and "Maybe Vampires Is a Bit Strong" eviscerate the build-them-up-to-knock-them-down nature of the music press, as well as the readers who hang on every headline. One imagines Turner would likely be the first to say, "Don't believe the hype" -- check the album title -- even if the Arctic Monkeys' music says otherwise. Bill Pearis

All Music Guide

Breathless, hyperbolic praise was piled upon the Arctic Monkeys and their debut album, Whatever People Say I Am, That's What I'm Not, an instant phenomenon without peer. Within the course of a year, the band rose from the ranks of an internet phenomenon to the biggest band in the U.K., all on the strength of early demos circulated on the web as MP3s. Those demos built the band a rabid fan base before the Monkeys had released a record, even before they played more than a handful of gigs. In effect, the group performed a complete run around the industry, avoiding conventional routes toward stardom, which paid off in spades. When Whatever People Say I Am hit the streets in January 2006, it sold a gob-smacking 118,501 copies within its first week of release, which not only made it the fastest-selling debut ever, but it sold more than the rest of the Top 20 combined -- a remarkable achievement by any measure.

Last time such excitement surrounded a new British guitar band it was a decade earlier, as Brit-pop hit overdrive with the release of Oasis' 1994 debut, Definitely Maybe. All four members of the Arctic Monkeys were a little bit shy of their tenth birthday at the time, a bit young to be sure, but old enough to have Oasis be their first favorite band. So, it's little surprise that the Gallaghers' laddism -- celebrating nights out fueled by lager and loud guitars -- is the bedrock foundation of the Arctic Monkeys, just the way as it has been for most British rock bands since the mid-'90s, but the Monkeys' true musical ground zero is 2001, the year the Strokes stormed British consciousness with their debut, Is This It. The Arctic Monkeys borrow heavily from the Strokes' stylized ennui, adding an equal element of the Libertines' shambolic neo-classicist punk, undercut by a hint of dance-punk learned from Franz Ferdinand. But where the Strokes, the Libertines, and Franz all knowingly reference the past, this Sheffield quartet is concerned with the now, piecing together elements of their favorite bands as lead singer/songwriter Alex Turner tells stories from their lives -- mainly hookups on the dancefloor and underage drinking, balanced by the occasional imagined tragic tales of prostitution and the music industry.

Whatever People Say I Am captures the band mashing up the Strokes and the Libertines at will, jamming angular riffs into a small space and tearing through the songs. But where the Strokes camouflaged their songwriting skills with a laconic, take-it-or-leave-it sexiness and where the Libertines mythologized England with a junkie poeticism, the Arctic Monkeys at their heart are simple, everyday lads. The dry production, sounding for all the world like an homage to Is This It -- all clanking guitars and clattering drums, with most of the energy coming from the group's call-and-response backing vocals -- keeps things rather earthbound.

In a way, Whatever People Say I Am is an ideal album for the Information Overload Age -- nearly every track here is overloaded with riffs and words, and just when it's about to sort itself out, it stops short. The band winds up with a patchwork of common sounds, stitched together in ways that may have odd juxtapositions, but usually feel familiar. One thing that sets them apart, and really gives them promise, is Alex Turner's writerly ambition. While he may fall far short of fellow Sheffield lyricist Jarvis Cocker, or such past teenage renegades as Paul Weller, Turner does illustrate ample ambition here. While his words can be overcooked -- allusions to Romeo & Juliet do not necessarily count as depth -- he does tell stories, which distinguishes him from his first-person peers. His fondness for detail, his sense of place are the qualities that make his work resonate for thousands of young Britons. Stephen Thomas Erlewine

New York Times

If only the music weren't so thrilling, there would probably be a serious backlash afoot. Kelefa Sanneh

Rolling Stone

The good news: In the case of this unpretentiously artful punk band, the reality nearly meets the hype.... A start-to-finish rush of invigorating riffs and pointed narratives that heightens with repeated exposure. Barry Walters

New York Post

The band's confidence belies their rookie status. Combine that poise with top chops and you have a quartet even better than the hype. Dan Aquilante