The Black Keys Deliver A Feast
Black Keys' 'Brothers' is an exceptional medley of songs.
Black Keys
Brothers
Released on May 18, 2010
At first, 15 tracks seem like a daunting amount of music to listen to on one album, even if the band’s record of albums is consistently favorable and well played. While there are a few déjà vu moments on Brothers, the majority of the songs are fresh peeks at The Black Keys, now releasing their eighth studio album.
What I loved about Magic Potion was that it was effervescent—it was gritty, but soulful. It was jam quality mixed with serenading. I felt that Attack and Release was a little unorganized. It was rollercoaster emotions, rather than fluid progression. Musically, it was interesting, but more unpredictable than enjoyable. I couldn’t settle myself into a Black Keys state of mind. But Brothers delivers the best of Dan Auerbach and Patrick Carney, most notably turning the guitar into a third band mate and the heavy dose of march-like percussion power that is infused throughout.
The album doesn’t stray from the Blues-based rock that we’re accustomed to hearing from this duo. Songs like “Everlasting Light” could piggy-back onto a White Stripes album. “Tighten Up” begins with playful, whistling-led instrumentation akin to Peter Bjorn’s “Young Folks.” But it eases into a very solid song of bob-and-weave drums with very precise, clean guitar. It’s a dance friendly tune with a guitar solo that sounds robotic, dirty, bold, and so intentional it’s amazing.
“Howlin’ For You” is one of the best examples of those power-surged marching beats driving you further into the song. And the guitar is literally chattering, with short-wave, synapse-like bouts of conversation with Auerbach. It feels like a Friday night rally. “Ten Cent Pistol” also displays a distinct personality coming from the guitar.
“The Only One” has a slower, darker start. It quickly pick ups and becomes this amalgamation of moody instrumentation and smooth, sexy vocals that are totally unexpected. Unlike the lo-fi and fuzzy vocals found on songs like “Never Give You Up,” these are higher and more melodic, without the itch. And interestingly, the lyrics on here loop continuously, but tread nowhere near obnoxious.
“Next Girl” is one of my favorite tracks because of its reverbs and the anthemic singing that says, “Oh my next girl / She’ll be nothing like my ex-girl / It was a painful dance / Now I got a second chance.” The Black Keys have a way of making this song sound like lifestyle. “Black Mud” treads more in a psychedelic realm, while “Sinister Kid” gets in touch with a garage jam and funk-inspired attitude.
“Unknown Brother” is an unexpected song because it abandons the chant-like pattern of the album, but it is a key element of their progression because it’s story-telling. Very touching and lyrically well-composed, it goes, “Though I never met you / And we spoke not a word / I never forget you / Through stories that I’ve heard / For you, unknown brother / My baby’s mother’s pain / ‘Cause your soul is in Heaven / But your memory remains.”
Brothers is a seriously likeable and enjoyable album, especially for days when you would rather listen than speak. It’s got a couple revelations on it that will probably make you a bigger fan of The Black Keys.
High Point
I’ve always wondered how two guys can make music this good, and now I’m even more confounded by the quality of progression on Brothers.
Low Point
The similarities between a handful of the songs make this album feel like it had some filler material, and “The Go Getter” was purely frenetic, and not in a good way.
Posted by Beth Yeckley on May 18, 2010 @ 9:30 am