Star Treatment: the lyrics are honestly fantastic, and they truly transport the listener to the futuristic hotel that hosts the Narrator’s stay. The stars’ light taking “forever to get to [one’s] eyes” being used as a metaphor for our perception of celebrities (and of life as a whole) being skewed is an undeniably beautiful device. This is, in turn, masterfully used to paint the picture of a washed-up celebrity. One who still has a seductive charm but with a subtle and emotive self-deprecating self-awareness — written in such a unique way that it’s hard to explain. Performance-wise, the admirably fitting and over-the-top vocals are a pristine choice to complement the lyrics. The rest of the instrumental, from the tranquil piano arrangements to the very loungy guitars, also does a fantastic job at world-building.

Low 8.

One Point Perspective is an evocatively introspective moment where the narrator looks back on their childhood expectations. They “lose [their] train of thought” during the recollection, but this represents a much bigger loss to the claws of time. The final verse juxtaposes these dreams with the present where the narrator is a lounge musician. All of this is not sad per se, but it’s palpably real, in turn creating a candid depiction of the passing of time; one which is truly hard-hitting and authentic. The instrumental, coincidentally, boasts a lovable piano with a cohesively lounge-like staccato arrangement. Additionally, the bass arrangement adds a lovely groove that’s wonderfully apt both sonically and thematically. However, this cut is ever so slightly on the blander side.

High 7.

American Sports is perhaps the most direct in creating a dystopian setting within the lunar hotel fictional background. Interestingly, it creates this futuristic criticism without mentioning any conflicts that are out-of-the-ordinary in the current landscape, painting a bleak picture where modern struggles are the norm even in the future, but with technological advances promising ridiculous coping mechanisms like having “weekly chat[s] with God on videocall”. This applaudable lyricism of impotence and disheartenment is accompanied by an immersive instrumental that sounds lush and grand. This piano-adorned, drum-heavy, and reverb-coated track can bore at times but only marginally, and mostly remains a shiny and appreciable moment within the tracklist.

Mid-High 7.

Tranquility Base Hotel + Casino powerfully continues the extended metaphor of futuristic, synthetic worldbuilding representing ludicrous distractions from real (and current) issues. Namely, problems regarding flimsy human connection and an unjust world. This is shown through the wonderful line “Have you ever spent a generation trying to figure that one out?”, along with more tongue-in-cheek descriptions of this dystopian world: like an —arguably— AR Jesus filling out a form, as well as the normalisation hairdos for protest. Sonically, Alex Turner’s vocal performance is soothingly intimate on this track and somewhat theatric in an endearing and amusing way. Moreover, the atmospheric production adorning the smooth, artsy, and groovy arrangements makes for a moving and immersive experience.

Low-Mid 8.

Golden Trunks is —lyrically— an ingenious and admirably executed song narrating a flirtatious encounter that accompanies some more political critique. The state of the world is laughable and subsequently comical enough to be a lighthearted topic between the flirting characters. What’s more, this is also greatly fitting within the hotel setting. Audibly, the somewhat horror-movie-inspired guitar riffs at the beginning come across as playful and are thus quite loveable. Also, the dramatic vocal delivery and bass work (with special mention to its beautifully plump tone) are highlights within this unconventional albeit applaudable track.

Low 8.

Four Out of Five is an enthusiastic advertisement for the titular *Tranquility Base Hotel & Casino*. Still, with the rest of the album’s context, it reads as synthetic, dishonest, and corporative — while ultimately still being playful and humorous. These lyrics are hugely complemented by the riff-centred, bass-driven, and vocals-heavy song. Additionally, the production is still consistent in creating the loungy feel so essential to the album’s concept.

Low 8.

The World’s First Ever Monster Truck Front Flip is another comical and witty lyrical approach detailing the excessively emphasised, trivial, and distracting nature of some news headlines. It also continues with themes of technological advances, frivolous human connection, and —amidst all of this— overstimulation. Instrumentally, the intimate, tight, albeit somewhat dreamy production has beautiful chemistry with the intricate bass and drum compositions, smooth keyboard tone, and soft vocal performances.

Low-Mid 8.

Science Fiction comes across as a self-aware song of heartbreak. It drearily revisits the loneliness created by a supposedly interconnected world once the fleeting hope given by the previous flirtatious relationship has dwindled. All in all, it’s a great and more downcast amalgamation of all the themes previously explored. The theremin-like synthesiser work, the slick bass arrangements and more straightforward vocal performances are consistent with the rest of the record’s stylish feel — although with a slightly obscure touch this time around.

Low 8.

She Looks Like Fun goes more in-depth into the disconnect caused by an online presence. Namely, how human interaction is affected negatively by the social media experience as well as the constant surveillance it generates. Similarly, the instrumental is somewhat foreboding although also triumphant in a sense due to the energetic chorus. Conversely, this contrasts with the more danceable verses in an admirable and somehow very fitting manner.

Low-Mid 8.

Batphone seems to continue with the last track’s sentiment in a cryptic way. There is an undeniable connection being described; for instance, in being able to recognise someone’s “low beams” from other peoples’ vehicles. However, this relation seems misleading. Particularly, with the context of disconnection looming over the listener, and the descriptions here being as material as they are, it can be inferred that what is described in the chorus is simply an extension of the superficiality explored during the verses. From an audible standpoint, the cut feels like a very minimal approach to the record’s sonic aesthetic. The dark ballad feel here is complemented by details like the beautiful and bendy synth lick and the jazzy piano passages all sprinkled across the song’s duration

Low 8.

The Ultracheese is —lyrically— an admirable closer that manages to conclude the concept album greatly while simultaneously staying consistent with the aspects that made the songwriting so playfully enjoyable. This ballad is candidly written from the perspective of the protagonist. This artist, who’s now past their prime, heart-achingly revisits a simpler past while strikingly admitting their own flaws through that retrospect. The instrumental is a great complement to this due to its distinctly honest and live-sounding atmosphere. It truly feels like the narrator is singing from the hotel’s lobby about how his love for people (or perhaps for life or music) hasn’t dwindled throughout the years. Although, admittedly, the lyrics are largely a saving grace for this slightly more humdrum cut, it cannot be overstated how grand of a finale it is to have this as the ending note. Ending a concept record about technological superficiality with an ode to love and connection creates a superb and nuanced silver lining. Specifically, doing so by detailing this passion only for things that are now over, as well as by using it as a conclusion for all the disheartening topics explored.

Mid 7.