Nonesuch
Theres a cleansing feeling that comes about when the Black Keys gritty, grimy, volume-drenched rock soul blues hybrid singes through the speaker cabinets.
With four albums, the duo of Dan Auerbach, the wizened vocalist and slash-and-burn guitarist, and Patrick Carney, the power pulse on drums, proved their worth as a self-contained unit. Following a musical line that runs from acoustic blues artists of the early 20th century through the fiery gutbucket brand to the psychedelic world of Hendrix and minimalist rage that ran through R.L. Burnside and Jon Spencer Blues Explosion, the two brought nearly a centurys worth of styles to a new generation. But even Auerbach and Carney could see that the lo-fi approach was going to box them into a corner of their own making. And the music didnt deserve to be relegated to only a cultish affection. So, they took their gear and, unlike previous efforts that found them laying down tracks in places such as an abandoned rubber factory, they moved it a few miles north of their Akron, Ohio hometown to Suma Recording Studio where the vintage equipment allows them to take baby steps away from their overall sonic aesthetic.
What makes all the difference on Attack and Release is the members attitudes to the making of this record. Produced by Danger Mouse — one half of Gnarls Barkley, collaborator on Gorillaz, creator of The Grey Album — along with the Keys willingness to tread new territory, we get an album builds upon the past and confidently embraces the future. Danger Mouse, who also plays a variety of instruments here, expands the groups sound without losing its sense of identity. Guest musicians such as Tom Waits alumni Marc Ribot and Ralph Carney (Patricks uncle) make subtle yet effective impact, while Jessica Lea Mayfields vocals on the aching ballad Things Aint Like They Supposed To Be add emotional depth.
