Galen Cromar - 5/31/2010
In many people's minds, 'Blues' is a genre that died somewhere back in the 80s and is no longer present on the modern music scene (unless you count ageing musicians on their last legs, both literal and those pertaining to touring).
For those of us for whom 'The Blues' never died, The Black Keys' latest album is somewhat of a treasure.
The drumming of the opening track 'Every Lasting Light' grows increasingly complex underneath the delicate falsetto vocal layer, mingling with raspy, gospel howls seeming to affirm the uplifting sentiments expressed in the lyrics, and a relentless, if somewhat restrained guitar rhythm. The end of the song builds into feedback before gently coming to rest in silence.
Throughout the album, the tone of Dan's guitar work is somewhat reminiscent of Electric-Ladyland-era-Hendrix, developing a spectacularly shimmering, bordering on psychedelic atmosphere. One example of this is found on the track 'Tighten Up'.
A clip from the introduction to 'Tighten Up' wouldn't seem out of place in a spaghetti western, with whistles, off-beat guitars, and distant drums. Dan comes in with soul-stirring lyrics such as "Someone said 'true love' was dead/But I'm bound to fall/bound to fall for you/Oh what can I do?", and plays organ to provide further background interest. Near the end of the song, an unexpected tempo change takes place, paving the way for the aforementioned 'shimmering' guitar tone to solo and close off the song.
That same tone provides another layer in the following track 'Howlin' for You', overlaid with another surf-tone guitar track, and Dan's reverb-treated voice. A sing-along chorus ensues, and the track draws to a close with ethereal organ.
The track 'She's Long Gone' moves one to recall early songs of The Yardbirds, with its insistent harmonica and fuzzy guitar sound.
Patrick's drumming and percussion work is extremely tight on this album, and on the song 'The Only One' especially, an organ-driven, 60s-style track (reminiscent of California Dreamin') with Nicole Wray on backing vocals.
'Too Afraid To Love' is quite possibly the most mystical track on the album, full of reverb-laced guitars, harsh harpsichord, and a feeling of extensive 'space' in the track.
Other track highlights include the instrumental 'Black Mud', and the second track on the album, the Cream-like 'Next Girl', with guitar squelching and shrieking by turns, and Dan's style of singing coming somewhere in between those of Eric Clapton and Howlin' Wolf.
The only criticism I can find for this album is its length - it weighs in at just under an hour. Some of the songs seem like they could have been held back for their seventh album, and still leave behind a terrifically enjoyable sixth album, keeping people wanting more.
In summary, this is a superb album, with many outstanding tracks, showing conclusively that 'The Blues' are very much alive and kicking. To keep it fresh to listen to, however, it would be best to listen to a few tracks at a time, rather than straight through.