I am trying to decide whether or not I can be completely unbiased when talking about the Arctic Monkeys’ new album AM, and honestly there is no way I can.

I was always destined to like this album, in fact, I was destined to like every album this band will ever make–probably– from the moment I read about them in Rollingstone magazine during sixth grade. They are–for better, or worse– the first band I would obsess over in ridiculous cult-like fashion. I have literally spent days of my life listening to their albums on repeat, watching live performances and interviews on YouTube and reading countless reviews and features on the group. I think I would more than qualify to teach Arctic Monkeys 101 at your local community college. Everyone has that band that opens their ears away from the mainstream realm– this mostly happens because of an older sibling. But I was the older sibling, so magazines and internet websites turned into my guides, which is how I found the Arctic Monkeys. The discovery of this group broadened my horizons, and so now every group I have grown attached to–old or new– is the direct result of their influence or influences. This is why it is hard to stay objective.

So now let me parcel through my thoughts about AM, the fifth album the Arctic’s have recorded in seven years.

One of the most pleasurable aspects of going through the entire Arctic Monkeys’ discography is the variance between the different albums. There is the hard-riffing, middle-class veritas of Whatever People Say I Am, That’s What I’m Not (2006), the dark, club rock of Favourite Worst Nightmare (2007), the brooding maturity of Humbug (2009) and the personal and lyrically focused Suck it and See (2011). And now they have added AM to their repertoire, a rock record that transforms homages of 70’s rock into sweaty dance-floor rock.

If nothing else, AM is a record that oozes sex and lustful intentions in a way that no recent R&B or Hip Hop record has been able to do without the use of explicit imagery– I think that this is the main connection this record has with R&B, a connection that Alex Turner has harked on in interviews. This album was made to be listened to on the walk from your apartment building, down a dirty street with somewhat sketchy loiterers, on they way to finally arriving at a lover’s house, where the album will be finished.

This album opens up stronger than perhaps any other Arctic’s record to date; “Do I Wanna Know” is an intoxicating groove that worms its way into the listener’s brain and remains there well beyond the last note of the album. The second song “R U Mine” is the edgier twin of the first track, and its soaring riffs and hurricane drum fills show off how much the band has matured since their 2006 debut– where energetic songs once were sloppy they are now replaced by the tightness of a well-practiced group of musicians.

The album then fleshes out to become an homage to the rock & roll greats of the 70’s. “Arabella” borrows Black Sabbath riffs to help Alex Turner wax poetically about a girl, whom he literally thinks is out of this world. Turner also does his best Lou Reed impression with “Mad Sounds”, a song that could fit perfectly on the first Velvet Underground album. The twelve-string guitar, a first for an Arctic Monkeys’ album, that appears on “Fireside” would even make Paul McCartney and the boys from Wings smile because of its pop instincts. This is, from end to end, a well-precisioned album.

The common thread that holds the entire album together is the syncopation of Nick O’Malley’s bass and Matt Helder’s, excellent as always, drum play. The tone of the bass and the drums is the cornerstone for the entire sound of the album, and it’s no surprise that Turner wrote most of the melodies by listening to demos that Helders and O’Malley put together.

Lyrically this album finds Alex Turner pining for an old flame, perhaps Alexa Chung, much like the lyrical nature of another album this year, Yeezus; though Alex Turner talks about his ex in much more polite terms. In fact, Turner is found crawling back towards his former partner more than once on this album, quite frequently by the tides of drunkenness (see: “Do I Wanna Know”, “Why’d You only Call Me When You’re High”). Tuner remains near his Suck It and See powers (see: “Love is a Laserquest“), in terms of lyricism, throughout the album and that is a very good thing.

So where does this album rank in the grand scheme of the Arctic Monkeys’ evolution?

When I go back and listen to the previous albums, the energy on the first two albums, WPSIATWIN and FWN, is incredible, but the music itself feels sloppy and rushed. The band itself didn’t quite become the excellent musicians they are today until Humbug, but that album, in and of itself, I would probably have to say is their weakest effort of the five Monkey’s albums. Now, that brings us to Suck It and See where I think Alex Turner peaked as a songwriter. The second half of Suck It and See– especially the three song run of “Love is a Laserquest”, “Suck It and See” and “That’s Where You’re Wrong” is intensely personal and revealing, while also providing amazing rock/pop tunes as accompaniment. What holds Suck It and See back from being the best album of the bunch are the two songs “Brick by Brick” and “Don’t Look Down Because I’ve Moved Your Chair” which are just plain annoying throwaways. Those two songs are exactly the reason that I believe AM is the Arctic’s best record– there are no throwaways on this album, every song has a purpose and pushes the album forward. The working place boy that appeared on their debut has grown up to become a chain-smoking beat poet; Turner’s deft maturation is even more impressive when you realize he is still an album– at their pace– away from being 30.

Now just know, you don’t have to be an Arctic Monkeys fanatic, or even heard any of their previous works to enjoy this album. Each Arctic’s album takes a different path musically; this band doesn’t stay in one place too long. It is a collection of twelve, excellently written rock/pop songs that are catchy-as-hell and perfect for most listening scenarios– barring you take the Arctic Monkeys with you to fancy affairs, this is leather jacket music. The Arctic Monkeys have delivered a successful dance-rock record worth listening to, a feat that is rarely achieved much anymore; treat it as such.