Review of The Black Keys
Photo Credit: Adapted by the Beachcomber
The Black Keys
Related Content
January 27, 2012 • Zack Wozniak, Staff Reporter
Filed under A&E, Top Stories
On December 6, the blues-rock duo Black Keys dropped their newly recorded album called El Camino. The Beachcomber decided to take a listen, being dedicated fans of these root-rockers, and review it for the school at large because we know they will like what we like.
On the surface, this is ten-and-a-half songs of pure, no holds barred rock and roll, and a half of an acoustic folky song. But we’ll return to that later. Make no mistake, it’s very modern and very new, yet the Led Zeppelin sounding riffs, or the T. Rex glam, or the blues roots become evident, almost obvious after repeated spins. And clocking in at 38 minutes makes it a fast, if not lightweight, effort.
Lyrically, their muse is very much the same or at least somewhat similar to their 2008 opus Brothers. In fact, there is almost nothing in terms of lyrical meaning here, yet lyrical sophistication is not what the Black Keys strive for. They’ve crafted an album that’s not too dense nor too dumb. They have a keen awareness for what speech patterns and words go well with the brutal, primal music they’ve put to it. Words like “I got a love that keeps me waiting/I’m a lonely boy” go well with the greasy, bluesy guitar attack and pounding drums.
Indeed, the thing that has always made the Black Keys a fun and interesting listen has been the marriage between new and old, to where the line becomes blurred between the retro and the modern. In fact, the musicianship here is very tight and very to-the-point. Whereas their 2006 effort, Attack & Release (and to a lesser extent, Brothers) feels like it takes meandering detours, El Camino goes straight to the point and doesn’t stray very far in its 11 songs. Each song, to quote a cliché attached to the Black Keys, grabs you by the throat and doesn’t let go.
But it is a matter of personal preference. Those who liked the psychedelic, hazy Attack & Release or even the unpolished garage rock of their early albums, or the soulful, sprawling Brothers will recognize the same band, yet after repeated spins will find certain undertones that will either thrill them or alarm them. The organ parts in “Gold on the Ceiling” and “Nova Baby” are superb. The guitar riff in “Sister” howls like no other. The folky, Zeppelin-like detour that starts “Little Black Submarine” is sublime. Above all, his album reads almost like a soundtrack to a speedy car getaway, teetering on the edge of sanity without going over.
Yet, this album has definite poppy undertones, a sharp contrast to their earlier albums, especially their last album, Brothers. It gives off a sort of mainstream vibe. Now that the Black Keys have found a larger audience, this makes it seem that they will cater to their more mainstream tendencies. Which isn’t bad, it is just a matter of perspective. Personally, I dug their exertions into psychedelia and soul, so this album doesn’t entirely sit well with me. After a band makes the album of their career, they then have the freedom to experiment and expand their tastes and their horizons. To me, this seems like a cop out, but going back to what they do well isn’t necessarily a bad thing.
Overall, I liked this album. Where it may lack in substance, it makes up for in pure fun. This is the sound of the Black Keys finding their audience, and putting out an album that they will dig. And it isn’t necessarily a bad thing, they still sound like the Black Keys. Recommended.
Loading ...
Comments
Please leave a comment about this article...
and if you want your comment published, you must be civil, courteous, and enter your first and last name. Thank you.